“Ghosts, Legends, and History: Unveiling the Mysteries of Venice in ‘A Haunting in Venice’ and ‘El Conde'”

The Current Cinema: “A Haunting in Venice” Has the Charm of Ridiculous Excess

Pushing the Established Formula to the Limits

In the third installment of Kenneth Branagh’s Hercule Poirot films, titled “A Haunting in Venice,” the formula that has defined the series—star casting, lush locations, and gothic camp—is pushed to its limits. Directed and starring Branagh himself, the film takes Agatha Christie’s “Hallowe’en Party” and transforms it into a bold, new adaptation set in Italy in 1947. This metamorphosis surpasses Branagh’s previous reinterpretations of Christie’s works, such as “Murder on the Orient Express” (2017) and “Death on the Nile” (2022).

The film sees Branagh’s Poirot retired to a Venetian retreat, where he tends to his garden and is pestered by those seeking his assistance in solving their private mysteries. The only outsider he allows entry is Ariadne Oliver, a crime novelist played by Tina Fey, who persuades Poirot to accompany her to a séance led by Mrs. Reynolds, a renowned medium portrayed by Michelle Yeoh. The plan is for Poirot, as an arch-rationalist, to debunk the claims of the paranormal. Meanwhile, Branagh, a cunning filmmaker, intends to rebunk them in the most extravagant manner possible.

The film is filled with an abundance of tricks and elements that contribute to its ridiculous excess. From a palazzo supposedly haunted by ghosts and occupied by an operatic soprano who has lost her voice since her daughter drowned in a canal, to a parrot named Harry who remains silent due to the same tragedy, and a housekeeper who speaks in Latin and has access to the daughter’s room, “A Haunting in Venice” embraces a treasure trove of gothic camp. It also features a British doctor haunted by his wartime trauma, a deceitful former lover of the deceased daughter, a concealed basement with skeletons, a knitted rabbit, missing bees, a self-depressing typewriter, and a storm so violent that the police cannot reach the crime scene, forcing Poirot to solve the case before breakfast.

A Philosophical View of Venice: Dissolution and Decay

Venice, often regarded as a romantic refuge, is a city defined by dissolution and decay. As Henry James described it, “The most beautiful of tombs.” It seems incongruous to consider honeymooning in a place with such a reputation. The idea of Venice as a gloomy destination is exemplified by Joseph Losey’s film adaptation of James Hadley Chase’s “Eve,” titled “Eva” (1962), which portrays the city as a memorial to disenchantment.

Given that every Venetian tale has been told, and every view meticulously documented, one may question what “A Haunting in Venice” can contribute to the mix. It comes only a few months after Hayley Atwell and Rebecca Ferguson battled a villain on one of the city’s bridges in the latest “Mission: Impossible” film. Moreover, when it comes to the grieving for drowned daughters in Venice, nothing quite matches the haunting atmosphere of “Don’t Look Now” (1973). However, despite this saturated cultural backdrop, Branagh’s film possesses the charm of ridiculous excess. Its stylistic flourishes and alarming camera angles, known as Dutch angles, create a treasury of gothic camp. For those seeking a familiar setting, Amsterdam may be a more suitable destination than Venice.

Review of “El Conde”: Satirical Grotesquerie Lacks Narrative Force

A One-Trick Tale about a Vampire Tyrant

Pablo Larraín’s film “El Conde” presents a unique conceit—depicting former Chilean dictator Augusto Pinochet as a centuries-old vampire. The story begins with Pinochet as a French officer during the reign of Louis XVI, where he tastes Marie Antoinette’s blood after witnessing her execution. The film then shifts to modern times, portraying Pinochet’s reign before focusing on his casket as he lies in state. Pinochet’s insatiable thirst for blood leads him to pluck out his victims’ hearts and blend them into a drink.

While the premise of a tyrant as an actual bloodsucker might be appealing, “El Conde” lacks narrative force to match its satirical bite. Set predominantly on a remote Chilean ranch, the film revolves around Pinochet, his wife Lucía Hiriart, and their servant Fyodor. Pinochet’s children also enter the scene, mainly concerned with their share of his wealth. A nun disguised as an accountant, Carmencita, is determined to exorcise Pinochet and steals the attention with her militant innocence. However, the plot becomes increasingly unfocused, and the core purpose of Carmencita’s character becomes blurred.

The satirical grotesquerie and moral dilemmas presented in “El Conde” may initially capture attention, but they ultimately fail to hold the audience’s interest. The film primarily relies on one trick—depicting Pinochet as a vampire—and it struggles to sustain this concept throughout its runtime. The absence of ordinary Chileans and their perspective in the film weakens its impact, limiting the narrative to predator characters without giving a voice to their prey.

Thatcher’s Representation and Larraín’s Curious Case

A notable element of “El Conde” is the portrayal of former British Prime Minister Margaret Thatcher, narrating the film and making a guest appearance. While Thatcher, along with former U.S. President George H. W. Bush, supported the release of Pinochet when he faced human rights violations charges in 1998, Larraín’s film presents her as a monstrous mate of Pinochet, seemingly superior to him, and with her own savage tastes. Thatcher is shown flying through gray skies with a cape spread out like a bat’s wing, sipping blood from a china cup as if it were Earl Grey tea. The film neglects to highlight the democratic nature of Thatcher’s governance and the relative freedom of expression in the UK.

Larraín’s recent works, including “Jackie” (2016), “Spencer” (2021), and “El Conde,” tend toward baroque paranoia and nightmares of conspiracy, lacking the compelling urgency found in his earlier film, “NO” (2012). The latter grounded in Chileans’ campaign against Pinochet, showcased ordinary people who fought back against the oppressive regime. In contrast, “El Conde” fails to include such characters, resulting in a movie dominated by predators with little perspective from their prey.

In conclusion, “A Haunting in Venice” embraces the charm of ridiculous excess, pushing the established formula for the Hercule Poirot films to its limits. On the other hand, “El Conde” falls short of delivering a narrative force to match its satirical concept, ultimately becoming a one-trick tale. The representation of Thatcher raises questions about the accuracy of historical context in the film and Larraín’s evolving directorial style.