DEATH ON THE NILE

UK/US, 2022, 127 minutes, Colour.

Kenneth Branagh, Tom Bateman, Annette Bening, Russell Brand, Ali Fazal, Dawn French, Gal Gadot, Armie Hammer, Rose Leslie, Emma Mackey, Sophie Okonedo, Jennifer Saunders, Letitia Wright, Susannah Fielding.

Directed by Kenneth Branagh.

Most audiences will enjoy this version of Death on the Nile – purists critical of the film versions of Agatha Christie’s novels will have some difficulties with changes in the plot and with Brenner’s portrayal of Poirot. And, possibly, audiences think that Peter Ustinov’s Death on the Nile should not be remade. (And, there was a version with David Suchet in the television series with all the Poirot novels.)

For audiences who were not taken by Kenneth Branagh’s interpretation of Poirot on the Orient Express, nor of his luxurious moustache, there is a transition here. In fact, there is a very interesting interpretation of his moustache, its size and his wearing it (and a surprising momentary revelation in the final minutes of the film).

The film actually opens in the trenches of World War I, quite an elaborate re-creating of the trenches (echoes of 1917), a planned attack on a bridge, seemingly a death sentence, but a younger Poirot advising an immediate attack, given the clue of the flight of birds and the setting of the wind. The attack is a success but his commander and Poirot are wounded, Poirot in the face – and some poignant moments as his fiancee come to visit him in hospital. Poirot is capable of love.

Shift to 1937, the period for the murder mystery. We visit a London club with a singer, Salome von Otterbourne (Sophie Okenado) in the Josephine Baker style. We also see a devoted couple, Jacqueline and Simon (Emma Mackay and Armie Hammer) eagerly dancing. Then, spotlight, Linnet arrives, and imposing Gal Gadot – and then a switch to the Nile with Linnet and Simon married, and an intensely jealous Jacqueline pursuing them.

Audiences will enjoy very much the photography of Cairo, Pyramids and Sphinx, the Nile, the Valley of the Kings, the interiors of the monuments, the vastness.

But, at the hotel in Cairo, no sign of World War II imminent, the lavish and indulgent lifestyle of the very rich and careless, Poirot is on holidays. In fact, we discover that he has been commissioned to follow up on his good friend, Bouc (Tom Bateman) because his mother (Annette Bening) is not happy with his love for Salome Von Otterbourne’s niece, Rosalie (Letitia Wright). And then Jacqueline reappears, haunting, menacing, and on her tour of the ruins, Linnet is almost killed by a falling boulder.

The solution, everybody to go on a cruise up the Nile. Jacqueline again, the shooting, Simon wounded, the discovery of Linnet shot in her bed – and everyone having an alibi.

Actually, Poirot is much more human, humane in this film than in the others, relating better to people – although, Rosalie has an extraordinary outburst criticising him (in the vein that Agatha Christie was feeling at the end of her career and disliking Poirot!). Many in the audience will know the solution from reading or the previous films so it is not a matter of whodunnit or but, rather, watching how clues are presented and the final explanation.

The cast is strong, not quite as spectacular as the 1978 version, but there is the pleasure of seeing Dawn French and Jennifer Saunders as well as an almost unrecognisable Russell Brand as the doctor.

Except for purists, an enjoyable visit to Agatha Christie land.

1. The popularity of Agatha Christie? Of this novel? Film versions of Christie novels? Previous versions of Death on the Nile?
2. A Poirot story, audiences imagination of Poirot? On screen, Albert Finney, Peter Ustinov, David Suchet, Kenneth Branagh? Relative merits?
3. The recreation of period, World War I, the trenches, hospitals? The 1930s, London, the club? Egypt, the beauty of the Pyramids and Sphinx, the Valley of the Kings, the Nile, the voyage? The musical score?
4. This film showing more of Poirot and his character? The effect of the World War I trench sequences, the dilemmas, the dangers, the attention given to the production design of the trenches, no man’s land? The leader, the orders, to take the bridge, Poirot and his suggestion, the wind, the flight of the birds, the success of the mission? His grief at the commander standing on the mind? Poirot and his injuries, his fiancee coming to see him in hospital, the damage to his face? And the decision to have the moustache as cover? The satisfactory explanation of the moustache, and for audience sympathy? And the epilogue and his removing the moustache?
5. Poirot, his reputation, his character, self-promotion? 20 years in England? Socialising, going to the club, his response to Salome Von Otterbourne and her singing, the staff, his cakes? His observing Jacqueline and Simon Doyle, Linnet and her arrival, taking centre stage? The engagement, Simon and lifted dancing, Poirot and his sense of doom?
6. The transition to Egypt? Fashionable hotel, lavish lifestyle, affluence, snobbery? The introduction to the guests? The revelation that Linnet and Simon were married? The pursuit by Jacqueline? Poirot in this context, on holiday, asked to look out for Jacqueline, the later revelation that his mother had asked Poirot to check on him and his relationship with Rosalie?
7. At the Pyramids, Bouc and his kite, borrows initial reaction, his friendship with Bouc, the discussions, his mother, his relationships? Bouc standing in for Colonel Race from the novel and earlier films? Sharing the detection with Poirot? The accusations, stealing the jewellery, witness, his being killed? His mother’s grief?
8. The threat Jacqueline, her turning up, Linnet and her reactions, fears? Simon and his hostility towards Jacqueline? The decision to go on the cruise?
9. The lavish boat, the crew, waiting on the guests, carrying luggage, Louise as Linne’s maid, having to supervise the luggage? On board, the style on the ship? The tourism, the Valley of the Kings, the monuments, the threat to Linnet with the boulder? Then the arrival of Jacqueline?
10. The introduction to the range of characters, Salome, the race issues, life in the US, the 1930s, her career, singing, style? Her personal aplomb? Her niece, strong-minded, the relationship with Bouc? Mrs Van Schuyler, her snobbery, yet communism? Linnet as her goddaughter? Bowers as her companion, and the later acknowledgement of the relationship? Bouc’s mother, her seeming condemnation of Poirot, yet the revelation that she had hired him? The doctor, his past attention is to Linnet, the strange thing of his being part of the entourage? The accountant, the keeping of the books, wanting Linnet to sign contracts?
11. The murder, the situation in the lounge, Jacqueline and shooting Simon, his wounds, his being taken, supervised by Bowers? The reason discovery of the dead? The shock to the head? The disappearance of the jewellery? The seeming impossibility of anybody board killing Linnet?
12. The investigations, Poirot and the clues, the role of the doctor, with Simon, his personal involvement? Bouc, the revelation about the jewels, his motivations, his witness? His death? Louise, forgetting the make up, her background, suspicions, her death? Bowers, the interrogation, further motivations?
13. Jacqueline, her determination, the shooting of Simon?
14. The dredging of the river for the gun, the various people with guns? The number of shots? The missing staff? Euphemia finding the jewels in her room?
15. The gathering of everyone together, the explanation of the crime, the plan by Simon and Jacqueline, the motivations, the two shots to Simon’s leg, his murdering Linnet?
16. Six months later, Poirot, the club, listening to Salome, and his moustache removed?
17. The Agatha Christie style, locations and characters, murders, clues, seeming impossibility?