Murder on the Orient Express

M. Bouc, the director of the train company, and Dr. Constantine, the doctor who examines Mr. Ratchett (Cassetti)’s body, accompany Poirot as he solves the case. The men frequently suggest their own theories regarding the murder. Bouc and Dr. Constantine act as a sounding board, creating opportunities for dialogue, so that Poirot can verbalize and explain his theories. Poirot guides the two men—and, in the process, the reader—as he picks apart and explains the intricacies of the complex murder mystery.

Mr. Ratchett (Cassetti)’s character is pivotal in setting the plot into motion since he’s the person who is killed and spurs Poirot’s investigation. Although technically a “victim,” it’s clear that Mr. Ratchett (Cassetti) is not the type of victim one has sympathy for, due to his involvement in the Daisy Armstrong murder.

It is precisely because of his unlikability that Mr. Ratchett (Cassetti)’s character helps elucidate the theme of Justice Versus Retribution. Mr. Ratchett (Cassetti) orchestrated a terrible crime—the abduction and murder of an innocent child—but was never punished for it through the traditional criminal justice system. He’s brought to justice through the murder on the Orient Express. The question the book poses: Is this a good thing—or does it set a dangerous precedent?

Mrs. Hubbard acts as a ridiculous, silly American matron. In fact, she’s the actress Linda Arden, playing a part—all in the interest of avenging her family for Daisy Armstrong’s (her granddaughter’s) kidnapping. Mrs. Hubbard’s importance as a character is confirmed most clearly in the novel’s final chapter. After Poirot unveils his second theory of the mystery, Mrs. Hubbard reveals her true identity and she is the one who confirms Poirot’s suspicions.

Countess Andrenyi (Helena Goldenberg) takes a fake name (“Elena” instead of “Helena”) and adopts an accent to avoid being connected to the crime on the train. While many of the characters lie to Poirot and put on a performance, Countess Andrenyi (Helena Goldenberg)’s acting is brought to the forefront most distinctly. Her husband, Count Andrenyi, plays only a minor role—a supporting actor for his wife’s leading role.

Mary Debenham is an early suspect of Poirot’s, due to the words he hears her tell Colonel Arbuthnot: “Not now. Not now. When it’s all over. When it’s behind us—then—” (11). Mary’s character supports Poirot’s arguments regarding the importance of psychology in detective work. Mary also reveals how the tiniest detail can serve as a clue. Often, only Poirot picks up on these clues; his companions Bouc and Dr. Constantine miss them. The best example of this is when Poirot notes that Mary uses the term “long distance” for a phone call; at the time, this was an exclusively American phrase (263). This tiny slip of the tongue is how Poirot realized that Mary was lying about never having been in the US, and how he placed her as the Armstrongs’ former governess.

Colonel Arbuthnot’s character is critical in exploring the book’s examination of Justice Versus Retribution, and its big question: If established systems of justice fail, is it okay to pursue other avenues of retribution? However, even when going the vigilante route, the Colonel tries to cling to a traditional system of justice. Mrs. Hubbard (Linda Arden) reveals, “Colonel Arbuthnot was very keen on having twelve of us. He seemed to think it made it more in order” (272).