This story has been filmed in various settings so there is no reason why it shouldn't work in the middle of a desert. Unless what you're really making is a future-length government funded tourism film. Consider the evidence:
The action takes place entire in the confines of an extraordinarily beautiful hotel built in an isolated part of the Iranian desert. It is empty but pristine.
There are almost no close ups. The Director relies on lingering wide shots for almost the entire film, showcasing the hotel's extraordinary fusion of traditional Persian design and urbane 1970's Western style. Entire scenes are shot in a single uncut take with the camera a long way back from he action. When this works it feels like a precursor to The Shining. When it doesn't it's like being in the back row of an amateur theatre performance.
The bizarre international casting is designed to appeal to as many territories as possible. Eight venerable European stars of the 70's (all retaining Christie's original English character names) struggle to deliver lines in their second language. Charles Aznavour (perhaps the 'acceptable' face of Western music) is surprisingly good. Elke Sommer is absolutely awful.
This film has some period charm, but it also has its eccentricities. The definition of sexy has changed since 1974. It's difficult not to be distracted by Aznavour's floral green tuxedo, Oliver Reed's paunch or Richard Attenborough's sideburns.
As a period piece its worth a watch. As a thriller it's more of a why-dunnit than a whodunnit. Although it appears to have been a commercial success, as a tourism film, it probably failed; there was a revolution in 1979 and the monarchy's attempts to modernise Persia were dismantled by religious puritans, followed by decades of war. Although I can't blame Oliver Reed for that.
The action takes place entire in the confines of an extraordinarily beautiful hotel built in an isolated part of the Iranian desert. It is empty but pristine.
There are almost no close ups. The Director relies on lingering wide shots for almost the entire film, showcasing the hotel's extraordinary fusion of traditional Persian design and urbane 1970's Western style. Entire scenes are shot in a single uncut take with the camera a long way back from he action. When this works it feels like a precursor to The Shining. When it doesn't it's like being in the back row of an amateur theatre performance.
The bizarre international casting is designed to appeal to as many territories as possible. Eight venerable European stars of the 70's (all retaining Christie's original English character names) struggle to deliver lines in their second language. Charles Aznavour (perhaps the 'acceptable' face of Western music) is surprisingly good. Elke Sommer is absolutely awful.
This film has some period charm, but it also has its eccentricities. The definition of sexy has changed since 1974. It's difficult not to be distracted by Aznavour's floral green tuxedo, Oliver Reed's paunch or Richard Attenborough's sideburns.
As a period piece its worth a watch. As a thriller it's more of a why-dunnit than a whodunnit. Although it appears to have been a commercial success, as a tourism film, it probably failed; there was a revolution in 1979 and the monarchy's attempts to modernise Persia were dismantled by religious puritans, followed by decades of war. Although I can't blame Oliver Reed for that.