If I have a complaint about Turner Classic Movies' "31 Days of Oscar" this year, it would be that many of the very best movies in the lineup are being shown at times that are hardly convenient.
I have already written about some of these movies, but they came on at times that were much more convenient than the time slot that was given to 1974's "Murder on the Orient Express."
It was shown at 3 a.m. (Central) this morning. Unless you work nights — or live in Hawaii — you probably weren't awake when it was on.
I hope you set your VCR or your DVR to record it. It is worth seeing.
I've heard it called the best film version of an Agatha Christie novel that has ever been made. I haven't seen every movie that was based on her novels, but my parents were big fans of hers and, as a result, I have read many of her books.
And I can say that "Murder on the Orient Express" truly was a remarkable film. The story was inspired by the kidnapping and murder of Charles Lindbergh's son in 1932, an event that undoubtedly was remembered by many of the people who saw the movie when it came out.
Today, of course, the Lindbergh case is nearly 80 years old, and there are few living people who still remember it. But things were different 36 years ago.
As I say, my parents were huge Agatha Christie fans, and I remember seeing the movie with them. After I saw it, I read Christie's original novel upon which the story was based. And I marveled again at what I had seen.
The film was nominated for half a dozen Academy Awards, but it won only one — Best Supporting Actress. That was kind of a surprise, considering that the winner, Ingrid Bergman, had been considered for a larger role by director Sidney Lumet but insisted on a smaller role.
"I couldn't persuade her to change her mind," Lumet said. "She was sweetly stubborn. But stubborn she was. ... Since her part was so small, I decided to film her one big scene, where she talks for almost five minutes, straight, all in one long take. A lot of actresses would have hesitated over that. She loved the idea and made the most of it. She ran the gamut of emotions. I've never seen anything like it."
Bergman was a class act. She always seemed so humble about her talent, even when she received her Oscar for "Murder on the Orient Express." She said nothing about her performance or the people with whom she worked. Instead, she apologized to fellow actress Valentina Cortese for beating her.
"It's always very nice to get an Oscar," she said to scattered laughter, "but in the past he has shown that he is very forgetful and also has the wrong timing because last year, when 'Day for Night' won for the Best Picture, I couldn't believe it that Valentina Cortese was not nominated because she gave the most beautiful performance. ... It's so ironic that this year she is nominated when the picture won last year. I don't quite understand that, but here I am and I'm her rival. And I don't like it at all. Please forgive me, Valentina! I didn't mean to."
And she left the stage without saying anything about Lumet or Albert Finney (who did a great job of playing detective Hercule Poirot but was beaten by Art Carney for Best Actor) or any of the other talented people in the cast — or the cinematographer, the costume designer, the composer or the writer who adapted the screenplay, all of whom were nominated for Oscars as well.
Increasingly in recent years, actresses are expected to be young and beautiful. Only select actresses continue to receive great acting roles as they get older.
Bergman was quite beautiful when she was young, and she was always talented. You can see ample evidence of that tonight. Turner Classic Movies will show her in "Casablanca" at 7 p.m. (Central), when she was still in her 20s.
But if you have never seen "Murder on the Orient Express," which she made in her late 50s, rent it and watch it.
And marvel at Bergman's talent.
