Hercule Poirot with a strange accent in disappointing ensemble film Death on the Nile

The Murder Mystery Death on the Nile begins with the unveiling of another mystery: the how and why of the mustache of the Belgian master detective Hercule Poirot. That mustache, big and graceful, already led a life of its own Murder on the Orient Express, Kenneth Branagh’s earlier Agathie Christie film adaptation. This time he even has his own prologue.

It is one of the many additions to the original story, which was already made into a film in 1978 with a memorable lead role by Peter Ustinov (also with mustache, a less intrusive one). In Branagh’s version, new characters are introduced and Poirot’s inner life is given more space.

That means more attention for Branagh, in addition to director and producer also the lead actor of Death on the Nile† Vanity is no stranger to the Northern Irish filmmaker and actor. He has already given himself the lead role in his films seven times, but maybe that’s not so surprising. After all, Branagh, especially loved for his Shakespeare adaptations, is an excellent actor.

Yet that is not really apparent in his Poirot interpretation. His curious French accent is just as distracting as that fake mustache. In addition, the scenario touches on personal traumas and then quickly forgets them. Thus, the diligent detective remains a mystery.

It is also somewhat in demand to transform a genuine ensemble film into a character study. Poirot is too busy solving the murder case. All the guests present on the Nile cruise of the wealthy, newlywed Linnet Ridgeway (Gal Gadot) are suspicious. As befits Agatha Christie, it’s a good company, from servants to great-aunts and vague ex-lovers.

Death on the Nile is a film that must have it from the outside: the glamor of the rich guests, the many famous actors, the exotic locations. But the actors are disappointing (with exceptions: Gadot, Letitia Wright and Annette Bening are good) and the Egyptian landscapes were largely created digitally. You notice that. As opulent as this journey down the Nile looks, it feels unreal.

Fortunately, the decoration of the film is in order. The wooden floors of the luxury ship are freshly polished, the crystal glitters, the jewels sparkle and the thirties costumes are all beautiful. For those who simply want to marvel at a luxurious, murderous holiday, it is just enough.