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What starts out as a first class train ride across Europe, quickly unfolds into one of the most suspenseful and breathtaking mysteries ever composed. Written by best-selling author Agatha Christie, Murder on the Orient Express tells the story of thirteen strangers linked together by one murder case under Death’s watchful eyes. Without time on their side, it is up to one man, detective, Hercule Poirot, to solve the mystery before the murderer strikes again. Who will it be? Only time can tell. 
Little attraction between suspects, physical isolation and the truism that everyone has something to hide are all common themes among Christie’s novels. On  a train, stuck in the snow, twelve strangers and twelve secrets to keep, a murderer is amidst and there’s nowhere to hide. Hercule Poirot is on the case. Using every detail, he brilliantly re-creates the events of the murder. Things get a little messy, but the audience can still keep pace with the appropriately named titles to concisely describe the elements being dealt with: “The Evidence of the Weapon,” “The Crime,” “The Armstrong Kidnapping Case,” etc. Christie likes to spin webs with her characters. Who talks to whom, who wears what robe, who speaks what language, no detail is ever meaningless: all objects, conversations, and characters are directly related to the crime.
Murder on the Orient Express is the most suspenseful and cutting-edge novels of its kind. Poirot’s logic and expertise is so skillfully crafted that even when he has it all figured out, we still get to watch him return to each passenger and confront them with the cold, hard truth. The climax builds, the plot unravels, and just as soon as you thought you’ve figured it out, another curve ball is thrown. This is what Christie likes to call, a red herring. Christie’s intricately woven plot is something to be admired, and when Poirot finally delivers his conclusion with great revelation, we can be sure of one thing, justice is best served cold.

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