SPOILERS ALERT
Despite the fact that the Kenneth Branagh is not the best Poirot, his first Agatha Christie adaptation of the famous Orient Express murder, was actually very entertaining. This was thanks to the intriguing casting and great suspect characters, Branagh himself was just there to orchestrate the whole thing. It came as no surprise that another story featuring his version of Poirot would be made, along with another set of interesting characters and a star-studded cast. Death on the Nile also seemed like a likely choice, with an exotic setting, this time in the sun and desert as well as cross overs with suspects. But, unlike the first film which was over dramatic in places and strayed from the point only but a few times, Death on the Nile is a convoluted, over dramatized, over reaching, entertaining but very flawed film.
While on holiday in Egypt, Poirot becomes part of a wedding party for the recently married heiress Linnet Ridgeway to Simon Doyle. The small an intimate party is made up of friends and close family of Linnet’s and famous jazz singer Salome Otterbourne providing entertainment. But there is an air of scandal as Simon was actually engaged to Linnet’s school friend Jacqueline before she ‘stole’ him away. Jacqueline now stalks the happy couple in hopes of ruining their honeymoon. When the wedding party moves to the river, boarding a steamer, the Karnak, the tension heightens, especially when Jacqueline also appears on board. But the real shock is when Linnet is found murdered in her bed, everyone is a suspect.
For those who don’t know the original story, it’s a shame as it was fine the way it played out. The other adaptations follow the original plot and still create a thrilling and exciting story. The audience coming in and watching this film with fresh might still be able to see the issues that don’t flow properly. But my guess is that if you don’t know what Branagh has ruined, you might not care as much. But again, it’s a shame as the original was better and could easily have been brought to the screen. The fault doesn’t just lie with Branagh by with screenwriter Michael Green also, who wrote both adaptations.
The only commendable part of the many changes that Branagh made was the casting, which is excellent all round. The Armie Hammer’s controversy aside of course, as the film was shot before that broke, there was nothing they could do about it. But the casting alone is the only improvement.
With adaptations, there is always room for change, but it’s about how much change and whether is it justified is the question. Branagh and Green’s changes include, changing all but three characters stories, some motives, some background stories and even moulding two characters into one. The other major changes to the film which greatly impact the story was adding in a brand-new side plot that about his friend, Bouc (made up character) and his relationship with Rosalie Otterbourne. Bouc is the third person murdered which is obviously not in the book. It is there to try and create an emotional punch and connection to Poirot, unnecessary. Another big change is the opening which sees a younger Poirot on the front lines of World War I in the trenches and gives us a reason as to why he has such a huge moustache. He also gives Poirot a lover, another huge hint that Branagh and Green are taking liberties with Christie’s character. All these changes don’t make the film better. Luckily the core characters and the murderers remain the same with the same plot which works perfectly.
Getting past the parts that really don’t work, the film is once again, like the first, entertaining and the scenery is breath taking. The parts that are real anyway. The fun period drama thriller does indulge in excellent costume and décor, it’s a feast for the eyes. But the intricate details are lacking and Branagh’s Poirot just becomes very difficult to watch. Thankfully the cast of suspects are dynamic enough to makes the film bearable. But you can’t help but think there was so many missed opportunities.
There is still hope that with the impending next film in the franchise that Branagh will tone down the Poirot over dramatics and focus more on the keeping to and being faithful to a plot. There was speculation about the next title. In the film Poirot mentions retirement and The Death of Roger Ackroyd sprang to mind, but it had been announced that the next film will take place in post-war Venice and be adapted from a lesser-known novel. So this screams not faithful adaptation to be honest.
