Kenneth Branagh has a thing for mustaches. Not just any mustache, but the kind of facial hair that requires its own zip code. When he signed on to direct and star in the 2017 adaptation of Agatha Christie’s most famous work, he knew the cast of the movie Murder on the Orient Express had to be just as loud and distinct as that silver-grey double-barreled whiskers set. Honestly, it was a gamble. You're taking a story everyone knows—or thinks they know—and trying to make it feel fresh for a modern audience that has been raised on gritty reboots and high-octane thrillers.
The result? A star-studded locomotive of talent.
If you look at the 1974 version directed by Sidney Lumet, the bar was already incredibly high. We’re talking Ingrid Bergman, Sean Connery, and Albert Finney. To match that, Branagh didn't just go for "famous." He went for a specific blend of old-school gravitas and new-age energy. It’s a weirdly eclectic group when you see them all on paper. You’ve got a Jedi, a Catwoman, a pirate, and a queen all stuck in a snowy ditch in Yugoslavia. It’s basically the ultimate "who's who" of 21st-century cinema, but they're all playing characters trapped in 1934.
The Belgian at the Center: Kenneth Branagh as Hercule Poirot
Poirot is a difficult man. He’s obsessive-compulsive, arrogant, and deeply lonely. Branagh plays him with a vulnerability we didn't always see in David Suchet’s iconic television portrayal or Albert Finney’s theatrical take. Branagh’s Poirot isn’t just a detective; he’s a man burdened by his own "little grey cells." He sees the world as it should be, and when it’s out of balance—like a tie being slightly crooked or a murder occurring on a luxury train—it causes him physical pain.
The mustache was a point of massive contention among fans. Christie’s daughter-in-law once mentioned that the mustache should be the most magnificent in all of England. Branagh took that literally. It’s huge. It’s structural. But beyond the hair, Branagh brings a physical energy to the role. This Poirot chases suspects across scaffolding. He uses his cane as a weapon. It’s a more "action-oriented" detective, which fits the sweeping cinematography of the film, shot on 65mm film to give it that epic, wide-screen feel that honestly makes you feel like you're freezing in the Alps alongside them.
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The Victim Everyone Wanted Dead: Johnny Depp
Johnny Depp plays Edward Ratchett. He’s the guy you love to hate, and honestly, Depp leans into the sleaze beautifully. Ratchett is a criminal hiding behind a thin veneer of wealth and expensive suits. It’s a relatively short performance—given that the movie is about his murder—but he casts a long shadow over the rest of the film.
Depp’s performance is subtle compared to his Jack Sparrow days. There’s a paranoia in his eyes, a sense that he knows the bill is coming due. When he sits across from Poirot in the dining car, offering him money for protection, you can feel the desperation radiating off him. It’s a crucial bit of casting because the audience needs to believe that everyone had a reason to kill him. If Ratchett isn't repulsive, the ending of the movie loses its moral weight. Depp makes sure we aren't exactly crying when the body is discovered.
The Dazzling Suspects: From Pfeiffer to Dench
Michelle Pfeiffer as Caroline Hubbard is, quite frankly, the secret weapon of the cast of the movie Murder on the Orient Express. She plays the "husband hunter" with such loud, brassy energy that you almost overlook the layers underneath. It’s a performance that starts as a caricature and ends as a tragedy. Watching her switch from a flirtatious American socialite to a woman haunted by grief is one of the film’s highlights.
Then you have the legends.
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Dame Judi Dench plays Princess Dragomiroff. She barely has to move a muscle to command the screen. Most of her performance is just her sitting in a chair, draped in furs, looking disappointed in everyone else's existence. Beside her is Olivia Colman as Hildegarde Schmidt, her maid. This was shortly before Colman became an Oscar-winning household name for The Favourite, and it’s fun to see her play someone so quiet and subservient compared to the powerhouses she usually portrays.
- Daisy Ridley as Mary Debenham: Fresh off Star Wars, Ridley brings a modern, sharp intelligence to the governess. She isn't the wilting flower of previous adaptations.
- Leslie Odom Jr. as Dr. Arbuthnot: Swapping the doctor's profession from the book's military background (to avoid the era's racial prejudices making his status unbelievable) was a smart move. Odom Jr. brings a calm, steady dignity to the role.
- Josh Gad as Hector MacQueen: Known for being funny, Gad plays Ratchett’s secretary with a nervous, twitchy energy that makes him an immediate suspect.
- Penélope Cruz as Pilar Estravados: She takes on the role originally played by Ingrid Bergman. It’s a somber, deeply religious character that provides a sharp contrast to the glamour of the other passengers.
- Willem Dafoe as Gerhard Hardman: Dafoe is always great at playing "slightly off," and as an Austrian professor with questionable views, he keeps the audience guessing.
Why This Specific Cast Works for the 2017 Version
The thing about a closed-room mystery (or a closed-train mystery) is that you're stuck with these people. If the chemistry is off, the movie fails. Branagh directed this by keeping the actors together as much as possible. They weren't just showing up for their scenes; they were living on those sets. The train cars were built to be functional, meaning the actors were actually cramped in those small spaces.
You can feel that claustrophobia. When you have stars of this magnitude—people who are used to being the center of their own cinematic universes—all forced into a single dining car, the ego and tension are palpable. It mimics the social friction of the 1930s perfectly. You have the class divide between Dench’s Princess and the staff, the racial tension represented by Arbuthnot, and the cultural clash of the Americans versus the Europeans.
The Nuance of the Ending (No Spoilers, Sorta)
Without giving away the "who" for the three people left on Earth who don't know the ending, the cast of the movie Murder on the Orient Express has to pull off a very difficult emotional pivot in the final twenty minutes. The movie stops being a fun "whodunit" and turns into a meditation on justice versus revenge.
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The final scene, staged like The Last Supper in the mouth of a dark tunnel, is where the ensemble truly shines. You see the cracks in their facades. The theatricality of the early scenes drops away, leaving behind a group of broken people. It’s rare for a big-budget blockbuster to allow its actors to be that raw, but because Branagh is an actor-director, he gives them the space to breathe.
Some critics felt the film was too flashy, but the box office told a different story. People showed up because they wanted to see these specific actors play off each other. It’s the "Avengers" of period-piece mysteries. You aren't just watching a Christie adaptation; you're watching a masterclass in ensemble acting.
A Quick Look at the Numbers and Facts
The film was a massive commercial success, grossing over $350 million worldwide against a budget of around $55 million. This success paved the way for the sequels, Death on the Nile and A Haunting in Venice. It proved that there is still a massive appetite for "adult" cinema—movies that rely on dialogue, character, and suspense rather than just explosions.
Actionable Insights for Fans and Aspiring Writers
If you're looking to dive deeper into this world or understand why this cast worked so well, here are a few things to consider:
- Watch the 1974 version immediately after: Compare how Lauren Bacall’s Mrs. Hubbard differs from Michelle Pfeiffer’s. It’s a lesson in how different eras interpret the same "archetype."
- Read the book: Agatha Christie wrote Poirot with more humor and less "action hero" energy. Seeing what Branagh added (and what he kept) helps you understand the art of adaptation.
- Pay attention to the costume design: Alexandra Byrne designed the costumes for the cast. Notice how the colors reflect their secrets. Ratchett is in dark, oppressive tones; Mary Debenham is in practical, "working woman" textures; the Princess is basically a walking pile of stolen wealth.
- Listen to the score: Patrick Doyle’s music helps the cast hit their emotional beats. The track "Justice" during the finale is particularly haunting.
The real magic of the 2017 Murder on the Orient Express isn't the mystery—it's the people. It reminds us that even the most famous stories can be made new again if you put the right people in the room (or the train car) and let them work. If you haven't revisited it lately, do it for the performances. Stay for the mustache, but stay longer for the heartbreak.