I enjoyed reading this; it is an interesting story well enough told. It is pleasant to be drawn back to ye olde dayes when pipe-smoking colonels came back from India via Stamboul abord the Orient Express. I think that AC doesn't dwell on that too much, it perhaps being sufficiently obvious; but only (I think) a modern film adaption we are not drowned in opulence, it's just there1.
From here: caution, spoilers.
Towards the end, as Poirot unwinds the event, a thing become clear that in a way should have been much earlier: that the train is improbably full, and this itself is a Klew. This has been introduced earlier, rather nicely, well before we think we should be looking out for clues. And another, that to some extent smooths over some awkwardnesses: because the snowdrift has upset plans, but nonetheless the event goes ahead according to script: there are so many people involved, who cannot be seen to plot with each other, it cannot be replanned.
Set against that, we have the improbability of both Poirot and the director of the line (conveniently there to allow Poirot authority) being on the train. Ah well, unavoidable perhaps. I feel that the plot being driven by Americans Yet Again is lazy of her. Oh, and having Mr Evil speak French is odd, since he so obviously can't. I think the Poirot sometimes speaks English-as-French, and this is sweet, but sometimes is swept into idiomatic English, and this is careless.
Notes
1. But then again, as time goes by, the main interest in these stories is as reflections on bygone times. People travelling from "Mesopotamia" and so on. So a little dwelling on the physical infrastructure would be good.
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