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Murder on the Orient Express： A Hercule Poirot Masterpiece
In the whole of Poirot’s career， there was one story above all that seems to have captured the public’s imagination.
（Soundbite from “Agatha Christie’s Poirot”）
Hercule Poirot： And if you would be so kind as to book for me a passage tonight on the Orient Express？
I knew that even after 20 years of playing Poirot， this would be one of the most challenging performances of my career. Murder on the Orient Express was almost， for me， an untouchable. Obviously because it was such a famous film with 1）Albert Finney， and it won Oscars. So I had quite a lot to live up to.
In 2008， I set out to make Murder on the Orient Express， a story about a very brutal murder， and I wanted Poirot to be as faithful to Agatha Christie’s novel as possible. I think the story has become legendary because to have 12 murderers—judge， jury and executioners—was an extraordinary invention of hers. In the story， the train becomes 2）stationary because of an 3）avalanche. To be stuck inside this narrow tube made it very 4）claustrophobic. That was the brilliance of her story.
David Suchet： So…the guilty 12.
Where I am now is where the big summing-up took place， and this is where he makes his big reveal that not one person among them was the murderer， but they were all guilty of putting in the knife.
（Soundbite from “Agatha Christie’s Poirot”）
Hercule： No， no， no. No， you behave like this and we become just 5）savages in the street！ The juries and executioners that…they elect themselves！ No， it is medieval！ The rule of law， it must be held high. And if it falls， you pick it up and hold it even higher！
He is thrown into deep 6）anguish and thought and prayer as to what should he do. Even though he may sympathise with the crime， is it his right to let them go？ Or should he do what he knows his faith would tell him to do？
In the 70 films I’ve played Poirot， Murder on the Orient Express was the one which showed him in a 7）turmoil of conscience we’ve never seen before. Torn and tormented over what to do about this murder. In the end， he chooses to let them go. On the human level， he did the right thing. But as far as his faith is concerned and what it did to him， it really cost.
Poirot understands the 8）frailty of people—their passions， their hopes and their dreams. It’s a characteristic which， I think， is recognised and admired by viewers the world over.
在波洛的整个职业生涯中，有一个故事可以说最能激起人们的无限想象。
（《大侦探波洛》片段）
赫尔克里·波洛：能麻烦您给我订一张今晚东方快车的票吗？
我知道，即使我已经扮演波洛这个角色长达二十年，这也会是演艺生涯中最有挑战性的一次演出。对我来说，《东方快车谋杀案》几乎是一个难以达到的高度。显然，因为它是一部非常有名的电影，由阿尔伯特·芬尼主演，并且获得了奥斯卡奖。所以我有很多事要做，必须不负众望。
2008年，我着手拍摄《东方快车谋杀案》。这是一桩非常残忍的谋杀案，我想让波洛这个角色尽可能忠实于阿加莎·克里斯蒂的原著。我想，这个故事之所以成为经典，是因为其中有12名杀人犯——他们包揽了法官、陪审团和行刑者之职，这正是阿加莎的非凡创意。在故事中，一场雪崩让列车动弹不得。人们被困在这个狭长的车厢里，感觉格外幽深恐怖。这正是故事的精彩之处。
大卫·苏切特：那么……敬那12名罪人。
我现在所在的餐车就是当时进行结案陈词的地方，波洛就是在这里揭开了谜底：凶手并不是他们当中的某一个人——他们所有人都是参与捅刀的罪犯。
（《大侦探波洛》片段）
赫尔克里：不不不，不，你们要是这样，我们就成了无序世界的野蛮人！陪审团和行刑者……全都是自行任命的！不，这简直成了中世纪！我们必须高举法治的旗帜，如果它倒了，你们应该将它捡起来，举得更高！
如何处置罪人的问题给波洛带来了巨大的痛苦，他不断地苦思冥想，虔诚祷告。尽管他认为这桩罪行情有可原，但他有权放走他们吗？又或者他应该听从信念的指引，尽自己应尽的职责？
在我饰演波洛这70集系列影片里，只有《东方快车谋杀案》让他表现出一种我们前所未见的、良心上的动摇。对于如何处理这桩谋杀案，他心痛不已，备受折磨。最后，他选择放走他们。从人性的角度来看，他做了件好事。但是考虑到他的信仰，以及这件事对他造成的影响，他为此付出了很大代价。
波洛了解人性的弱点——他们的情感、他们的希望、他们的梦想。我想，正是这种性格特点，让他得到了全世界观众的认可与景仰。
In the whole of Poirot’s career， there was one story above all that seems to have captured the public’s imagination.
（Soundbite from “Agatha Christie’s Poirot”）
Hercule Poirot： And if you would be so kind as to book for me a passage tonight on the Orient Express？
I knew that even after 20 years of playing Poirot， this would be one of the most challenging performances of my career. Murder on the Orient Express was almost， for me， an untouchable. Obviously because it was such a famous film with 1）Albert Finney， and it won Oscars. So I had quite a lot to live up to.
In 2008， I set out to make Murder on the Orient Express， a story about a very brutal murder， and I wanted Poirot to be as faithful to Agatha Christie’s novel as possible. I think the story has become legendary because to have 12 murderers—judge， jury and executioners—was an extraordinary invention of hers. In the story， the train becomes 2）stationary because of an 3）avalanche. To be stuck inside this narrow tube made it very 4）claustrophobic. That was the brilliance of her story.
David Suchet： So…the guilty 12.
Where I am now is where the big summing-up took place， and this is where he makes his big reveal that not one person among them was the murderer， but they were all guilty of putting in the knife.
（Soundbite from “Agatha Christie’s Poirot”）
Hercule： No， no， no. No， you behave like this and we become just 5）savages in the street！ The juries and executioners that…they elect themselves！ No， it is medieval！ The rule of law， it must be held high. And if it falls， you pick it up and hold it even higher！
He is thrown into deep 6）anguish and thought and prayer as to what should he do. Even though he may sympathise with the crime， is it his right to let them go？ Or should he do what he knows his faith would tell him to do？
In the 70 films I’ve played Poirot， Murder on the Orient Express was the one which showed him in a 7）turmoil of conscience we’ve never seen before. Torn and tormented over what to do about this murder. In the end， he chooses to let them go. On the human level， he did the right thing. But as far as his faith is concerned and what it did to him， it really cost.
Poirot understands the 8）frailty of people—their passions， their hopes and their dreams. It’s a characteristic which， I think， is recognised and admired by viewers the world over.
在波洛的整个职业生涯中，有一个故事可以说最能激起人们的无限想象。
（《大侦探波洛》片段）
赫尔克里·波洛：能麻烦您给我订一张今晚东方快车的票吗？
我知道，即使我已经扮演波洛这个角色长达二十年，这也会是演艺生涯中最有挑战性的一次演出。对我来说，《东方快车谋杀案》几乎是一个难以达到的高度。显然，因为它是一部非常有名的电影，由阿尔伯特·芬尼主演，并且获得了奥斯卡奖。所以我有很多事要做，必须不负众望。
2008年，我着手拍摄《东方快车谋杀案》。这是一桩非常残忍的谋杀案，我想让波洛这个角色尽可能忠实于阿加莎·克里斯蒂的原著。我想，这个故事之所以成为经典，是因为其中有12名杀人犯——他们包揽了法官、陪审团和行刑者之职，这正是阿加莎的非凡创意。在故事中，一场雪崩让列车动弹不得。人们被困在这个狭长的车厢里，感觉格外幽深恐怖。这正是故事的精彩之处。
大卫·苏切特：那么……敬那12名罪人。
我现在所在的餐车就是当时进行结案陈词的地方，波洛就是在这里揭开了谜底：凶手并不是他们当中的某一个人——他们所有人都是参与捅刀的罪犯。
（《大侦探波洛》片段）
赫尔克里：不不不，不，你们要是这样，我们就成了无序世界的野蛮人！陪审团和行刑者……全都是自行任命的！不，这简直成了中世纪！我们必须高举法治的旗帜，如果它倒了，你们应该将它捡起来，举得更高！
如何处置罪人的问题给波洛带来了巨大的痛苦，他不断地苦思冥想，虔诚祷告。尽管他认为这桩罪行情有可原，但他有权放走他们吗？又或者他应该听从信念的指引，尽自己应尽的职责？
在我饰演波洛这70集系列影片里，只有《东方快车谋杀案》让他表现出一种我们前所未见的、良心上的动摇。对于如何处理这桩谋杀案，他心痛不已，备受折磨。最后，他选择放走他们。从人性的角度来看，他做了件好事。但是考虑到他的信仰，以及这件事对他造成的影响，他为此付出了很大代价。
波洛了解人性的弱点——他们的情感、他们的希望、他们的梦想。我想，正是这种性格特点，让他得到了全世界观众的认可与景仰。