Reviews For Murder On The Orient Express

Okay, so we all know that Murder on the Orient Express is a super famous mystery. Like, Agatha Christie famous. The one with the fancy train and the mustache-twirling detective. Everyone and their grandmother has probably heard of it. Or at least seen one of the movies.

And the reviews! Oh, the reviews. People rave about it. They call it a "masterpiece." They say it's "ingenious." They probably use words like "brilliant" a lot. And sure, it is clever. No one's denying that. But are we being a little too nice?

Let's be real for a second. If a friend told you this plot in real life, you might blink. You might say, "Wait, what?" It’s a bit… much. A lot of people, all with a reason, all doing the same thing? It’s like a super-organized group project gone rogue.

And Hercule Poirot. Bless his little cotton socks and his orderly mind. He’s a legend, I get it. He notices everything. The misplaced hat, the unusual accent, the fact that someone ate the last biscuit. But sometimes, his pronouncements feel a little… dramatic. Like he’s discovered the meaning of life in a smudge of jam.

The whole setup is just so… theatrical. A snowdrift trapping a train. Perfect. A dozen suspects, each with a dramatic backstory. Double perfect. It's the kind of scenario that screams "I need a spotlight and a dramatic musical sting!" rather than "This is a realistic crime investigation."

People praise the "twist." And yes, it’s a twist. A big one. It’s the kind of twist that makes you want to re-read the whole thing just to see how they pulled it off. But does it make complete sense when you really think about it? Or is it just a really, really good trick?

It’s like going to a magic show. You know it’s a trick. You’re impressed by the skill. But a tiny part of you knows the rabbit wasn't really in the hat. And with Murder on the Orient Express, sometimes that tiny part whispers, "But how? Really, how?"

Let's talk about the victim. Poor Mr. Ratchett. Not exactly a pillar of the community, is he? More like a… well, let’s just say he wasn't winning any "nicest person" awards. This is where the whole "justice" thing gets a bit murky, doesn't it?

The idea that everyone on that train was part of a vigilante squad… it’s certainly a bold choice. It’s like saying, "Okay, we’ve all had a bad day, so let’s band together and solve this crime ourselves. And the solution? All of us did it!" It’s certainly memorable, I’ll give it that.

And Poirot? He figures it out, of course. Because he’s Poirot. But his struggle, his dilemma… it feels a little manufactured. He’s a detective, not a judge and jury. Yet, in this instance, he seems to be playing both roles.

Maybe my expectations are too high. Maybe I’m too used to modern detective shows with their gritty realism and morally grey characters. Murder on the Orient Express feels more like a fable. A very clever, very old-school fable.

The train itself is practically a character. The descriptions of the luxury, the snow, the sense of isolation. It’s all very atmospheric. You can practically feel the chill in the air and the plush velvet of the seats. That’s undeniable. Agatha Christie was a master of setting a scene.

But then you have the plot. The sheer number of people involved. The perfect timing. The lack of any real slip-ups. It’s almost too perfect. Like a meticulously arranged diorama, not a messy, human event.

And what about the "impulse" aspect? Was it truly impulsive for all of them? To coordinate a murder, on a train, with so many moving parts? That sounds less like an impulse and more like a very well-planned reunion with a rather morbid agenda.

Some people talk about the moral ambiguity. The idea that justice isn't always served by the law. And that's an interesting thought! But in this story, it feels less like moral ambiguity and more like a collective decision to take matters into their own hands because… well, because it makes for a better story, I suppose.

"It's a puzzle box within a puzzle box. Or perhaps, just a very elaborate excuse for everyone to tell their sad stories."

And the pacing! While it’s a classic, sometimes the build-up can feel a tad slow. We’re introduced to so many characters, each with their own little quirks. It’s like a giant character speed-dating event. "Hello, I’m a former governess with a secret. Nice to meet you."

Then there's the whole theatrical confession at the end. Poirot gathers everyone. The spotlight is on. He reveals his findings. It’s pure drama. You half expect a standing ovation. Which, again, is great storytelling! Just not necessarily the most realistic crime solving.

Perhaps my "unpopular opinion" is that while it’s undeniably clever, sometimes the sheer contrivance of it all makes me want to… chuckle. Not in a mean way. More in an "Oh, you sly dog, Agatha, you really got me!" kind of way.

The brilliance of the book is its structure. It's designed to mislead you. It’s designed to make you think you're on one track, only to shove you onto another. And that, in itself, is an achievement.

But the idea that twelve people could perfectly execute a murder, keep it a secret, and then all confess (or at least admit their involvement) to Poirot with such… equanimity? It’s a lot to swallow. Even for a fictional universe.

And the fact that Poirot, the great detective, essentially lets them get away with it? He offers them a choice. A narrative choice. It’s less about guilt and more about what story he wants to tell. And that, my friends, is a narrative choice that can leave you scratching your head a little.

So, am I saying Murder on the Orient Express is bad? Absolutely not! It’s a classic for a reason. It’s witty. It’s intricate. It’s iconic. But maybe, just maybe, we can enjoy the cleverness without pretending it’s the most plausible crime ever committed.

It's the literary equivalent of a perfectly executed magic trick. You know there's a trick. You marvel at the skill. But you also know that sometimes, the magician just wants to wow the audience with a really big illusion. And this is Agatha Christie's ultimate illusion.

And isn't that what makes it so fun? The sheer audacity of the plot. The audaciousness of the characters. The audaciousness of Poirot's decision. It’s a story that dares you to question reality, and then gives you a wink and a nudge.

So, next time you’re reading it, or watching a movie version, feel free to smile. Feel free to raise an eyebrow. Feel free to think, "Wow, that's… a lot of people." Because sometimes, the most entertaining mysteries are the ones that make us think, "Now that's a story!"

And for that, Murder on the Orient Express, we salute you. Even if we're still a little bewildered by how you all managed it.