1969 novel Hallowe\u2019en Party<\/a> is the basis for his new film A Haunting in Venice, but while his previous two adaptations were relatively faithful to the original texts, Branagh and screenwriter Michael Green have taken a far looser approach to the process this time around.<\/p>\n Not only has the action been moved from a rural English village to the Italian City of Canals, but the entire plot has pretty much been altered \u2013 with just a few characters, themes, and motifs remaining from the original story.<\/p> Whereas the book begins with the murder of thirteen\u2013year\u2013old girl Joyce Reynolds while she is bobbing for apples, the film concerns the mysterious death of a medium \u2013 also called Joyce Reynolds \u2013 at a seance.<\/p>\n Meanwhile, the extravagantly moustachioed Belgian sleuth\u2019s resulting investigation goes in a very different direction in the film, even forcing him to ponder the possibility of supernatural happenings at various points.<\/p>\n Speaking exclusively to RadioTimes.com<\/a>, the film\u2019s producer Judy Hofflund explained some of the reasons for the changes.<\/p>\n \u201cWe had permission from the Christie estate \u2013 they were on board with us from the beginning [and] very supportive,\u201d she explained. \u201cAnd, you know, I guess we thought Agatha Christies have been adapted for a long time in a lot of ways.<\/p>\n \u201cSo hopefully if it\u2019s good\u2026 if it\u2019s a well-executed satisfying, fun-to-see movie \u2013 I think it is \u2013 then people will think \u2018I had a good time and thank God Agatha Christie came up the bones of a fantastic story\u2019.\u201d<\/p>\n Meanwhile, Hofflund also spoke about how she, Branagh, and Green \u201creally wanted to shake it up\u201d compared to their two previous Poirot films.<\/p>\n \u201cMurder on the Orient Express and Death on the Nile were similar to the extent that they were sort of\u2026 a lot of them [were] outdoors like they were travelogues, they were beautiful.<\/p>\n \u201cAnd I think we wanted this to be dark and scary and a little claustrophobic and just to really shake it up and let it feel different. We just didn\u2019t want to do a third one that looked and felt the same.\u201d<\/p>\n Read more:<\/strong><\/p>\n When Death on the Nile was released last year, Green explained to RadioTimes.com <\/strong>that it was important to reinterpret Christie\u2019s work<\/a> rather than simply keep everything the same.<\/p>\n \u201cWhat you want to do is to honour it, but you have to give yourself the permission to break and restructure in order to honour it,\u201d he explained.<\/p>\n \u201cBecause whenever you adapt anything, you have to find what you love about it. And at the expense of a lot of other things, you have to make sure that what you love about it comes through.<\/p>\n \u201cAnd sometimes you have to undo some beautiful things in the book, or some delicate things in the book, or even some interesting things in the book in order to make room for what has to happen.\u201d<\/p> ![\"Kenneth](\"https:\/\/images.immediate.co.uk\/production\/volatile\/sites\/3\/2023\/09\/AHV-06516R-d34ebda.jpg?quality=90&resize=620%2C413\" "\\"Kenneth")
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