Tonight's Movie: Death on the Nile (2022)

A little over four years ago I saw Kenneth Branagh's version of MURDER ON THE ORIENT EXPRESS (2017). Branagh directed and also starred as Agatha Christie's master detective Hercule Poirot.

I quite enjoyed that film, more than many critics, and have been looking forward to Branagh's version of DEATH ON THE NILE (2022) ever since. I certainly never dreamed it would take so long, as the release date was pushed back multiple times due to COVID restrictions, but it's now in theaters at long last.

I enjoyed DEATH ON THE NILE quite well; while not a great film, it's solid and enjoyable, just like its predecessor. In fact, I'd venture to say that I actually liked it more than the 1978 version, which I reviewed in 2020.

DEATH ON THE NILE begins with a nice old-fashioned feel thanks to the 20th Century-Fox fanfare, complete with the CinemaScope extension theme music. There's a modern change to go with the classic music, however, as the company is now called 20th Century Studios.

The film begins with a World War I prologue which helps explain Poirot's mustache -- which, it should be noted, is not as out of control crazy-looking as it was in ORIENT EXPRESS. It was nice not to be distracted in that regard.

After the prologue we then move forward in time to the story of Simon (Armie Hammer, THE SOCIAL NETWORK), who jilts his fiancee Jacqueline (Emma Mackey) for her good friend, heiress Linnet Ridgeway (Gal Gadot, WONDER WOMAN).

The newlyweds take a post-wedding cruise down the Nile, followed by Jacqueline; also on board is the great detective Hercule Poirot (Branagh) and a variety of passengers include singer Salome (Sophie Okonedo) and her daughter Rosalie (Letitia Wright, BLACK PANTHER); Poirot's friend Bouc (Tom Bateman, who also played the character in ORIENT EXPRESS) and his artist mother Euphemia (Annette Bening); and a doctor (Russell Brand).

This being an Agatha Christie story, it isn't long before someone ends up dead, and then someone else, and then... It's up to Poirot to solve the mystery and hopefully save other lives.

Those familiar with the Christie story or the original film will recognize that some characters have been changed, renamed, or are missing, which also allows for more diverse casting; I felt that the changes worked well, and the basic storyline regarding Linnet's marriage and the following murders on the Nile is still there.

Truth to tell, one of this film's virtues is its relatively streamlined telling, clocking in at 127 minutes instead of the 1978 film's 140. Had I been the editor I would have also cut out Poirot's prologue and epilogue to give the film an even crisper running time; it would have been worth eliminating a bit of character shading in order to achieve a running time under two hours.

Regarding character development, I did feel that the 1978 version tended to move the "player game pieces" from place to place simply to unlock the puzzle rather than give us much in the way of depth; the characters were there to serve Christie's story. To be sure, the sheer number of people in the cast makes it hard to delve too deeply into character and motivations, but I felt like the new film does a better job conveying emotions and mood, particularly with regard to Simon's sultry relationships with Jacqueline and Linnet. (Almost too sultry, as Simon engages in some fairly explicit dancing early on with both ladies.)

I particularly liked Gadot as the regal Linnet, who is clearly used to having her way in all things yet remains sympathetic -- certainly more so than Lois Chiles in the previous film.

Branagh is again fine as Poirot, though his rapid-fire announcement of the solution to the mystery was almost hard to follow, given the accompanying accent! This is a film I will watch again someday on Blu-ray with the captions on.

Angela Lansbury's writer of the previous version is a singer this time around, played by Okonedo, and despite the related story and character changes, Okonedo is one of the film's best, mostly lively assets. I also liked the new character played by Annette Bening, who seems to be channeling her very best Ida Lupino vibes; it works very well.

Most of the cast is fine, but frankly I feel the film could have used more star power in roles such as Linnet's financial adviser (Ali Fazal) and maid (Rose Leslie) or Mrs. Van Schuyler (Jennifer Saunders) and her companion (Dawn French). The actors are all adequate and have had successful careers, but they're not especially memorable; additionally, part of the fun of a film like this is a star-studded cast, and I would have liked to see a little more of that type of notable casting. Fans of any of the noted actors may have a different take on that!

The cruise ship is gorgeous, with its beveled glass windows and white and silver decor; the beautiful setting adds a great deal to the film's mood and is a definite strong point. Given how good the main set is, some of the movie's incredibly obvious CGI work is therefore rather surprising. However, if one looks at it as being on a level with back projections of the classic film era, I suppose it's a step up.

The music is by Patrick Doyle, who scored MURDER ON THE ORIENT EXPRESS and has worked on other films I like, including CINDERELLA (2015). Also like MURDER ON THE ORIENT EXPRESS, the screenplay is by Michael Green, with cinematography by Haris Zambarloukos.

Parental Advisory: This film is rated PG-13 for some suggestive scenes and dialogue, along with mild gore.

A trailer is here.

DEATH ON THE NILE may not be a great film, but this is a solid, attractive telling of a classic story. I found it quite a pleasant afternoon at the movies and would definitely watch it again.

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