|Details are imperative in this film, and there is a particular detail we must note, because we have to remember, when there is a character looking for clues, that is an invitation for us, the viewers, to also "look for clues" regarding what the film is really saying. Please notice, as you watch the film, the costumes involved: we have all ready analyzed some of the costumes in detail, but one aspect we haven't considered in this image of Hercule Poirot above: his coat. Because his arms are not in the sleeves of the coat, we may suspect that Poirot all ready has a clue about the play on the last name of "Armstrong," and I won't say anything else about that here, however, it also does something else to Poirot's coat: it turns it from a coat into a cape. A cape, like what Thor or Superman wears, is a sign of a burden willingly taken upon one's self, and their capes are red because they are willing to spill their (red) blood for those they love and the just cause. In the image above, I can't tell if Poirot's coat is blue--like his suit--or black, but Poirot has taken upon himself the burden of the case.|
The Blue Mosque which was featured in Taken 2, Skyfall and Argo. In both Taken 2 and Skyfall, the white heterosexual men are seen pursuing the enemies with courage and determination; in Ben Affleck's Argo, his Canadian hero (socialism) is seen sneaking around, terrified and impotent. We'll see how Poirot makes out when he's in Istanbul (which used to be Constantinople). Lastly, pay attention to class dynamics: which social/economic class is each character from, and how do they interact with other characters from different classes? I plan on seeing Murder On the Orient Express Friday afternoon, and will do my very best to get a post up this weekend,.... really, my very best.
Eat Your Art Out,
The Fine Art Diner