DEATH ON THE NILE (2022) – Review

Not in the mood for romance this big pre-holiday weekend? Well, how about a murder, most foul, and….quite stylish. You see, this isn’t a grim and gritty crime caper, like those profiled in all the podcasts and streaming channels. This is based on a classic novel from an iconic novelist with an almost as famous sleuth out to nab the culprits. Nope, it’s not the fellow from London with the deerstalker cap, nor the hard-nosed PI from San Fran spotting a battered fedora. This “prestige picture” marks the return (after nearly five years ) of the shamus with the spectacular ‘stashe, Hercule Poirot as portrayed by Kenneth Branaugh (still basking in the glow of all those recent Oscar noms, no doubt). He’s ditched the train in favor of an equally luxurious river steamer (with an equally impressive all-star cast) just in time the ponder the mystery concerning a grisly DEATH ON THE NILE.

We filmgoers do quite a bit of traveling also, as the prologue goes from the horror of WW1 in 1914 to a mid-1930s flashback in a crowded London jazz club. Poirot (Branaugh) is there to sample the superb desserts but is distracted by the blues guitar stylings of the enigmatic singer Salome Otterbourne (Sophie Okonedo), managed by her niece Rosalie (Letitia Wright). Also catching his eye is the re-uniting of old friends, the wealthy debutante Linnet Ridgeway (Gal Gadot) and school chum Jacqueline du Bellefort (Emma Mackey) who is there with her new fiancee, not-so-wealthy American Simon Doyle (Armie Hammer). Out of his hearing range, Jacqueline implores Linnet to hire Simon as a manager for her newest luxury manor. Several months later, Hercule is vacationing in Egypt and runs into his old friend from the Orient Express Bouc (Tom Bateman) who’s there with his prickly mother Euphemia (Annette Bening). The duo is staying at the plush local hotel to celebrate the wedding of Simon and…Linnet (how things can change in a few months). Also in attendance are Linnet’s godmother, the sickly “pro-worker” Marie Van Schuyler (Jennifer Sanders) with ever-present Nurse Bowers (Dawn French), her financial manager/cousin Katchadourian (Ali Fazal), and her ex-fiancee Dr. Windlesham (Russell Brand), along with entertainment provided by Salome and Rosalie. Oh, and a big surprise…the definitely “not-invited” Jacqueline. But this will not change the honeymoon plans. Hercule is invited to join them in a cruise down the Nile via the “top of the line” steamer, the Karnak. A side trek through the ruins almost ends in tragedy, but things don’t really get “dicey” until Jacqueline sneaks about at one of the ports. It’s almost inevitable that this unnerving tension will lead the way to (cue the ominous music beat)…MURDER!!

With the second “case” under his belt, Branugh brings a touch more humanity to the great Belgian detective. He shows us how the loss of a great romance altered his behavior, though he is progressing a bit more, Branugh’s superb line delivery shines through, whether he’s extolling a fine cuisine as he’s tossing a wry insult toward an insufferable intruder to his table. But there’s more warmth here as seen in his affection for the rascal Bouc and in his stammering infatuation with Salome, played with scene-stealing gusto by Okonedo. She demands respect while still being impressed and charmed by the eccentricities of Hercule. Mackey is almost a sad vengeful specter as the rebuffed Jacqueline. Bening embodies haughty propriety as the easily annoyed matron. What a treat to see the comedy team of French and Saunders reunited as the bickering duo (Schulyer dislikes the “upper classes” while Bowers delights in the “fancy fluff”). Speaking of comic actors, Brand is quite effective as the dejected suitor of Linette who knows that everyone finds him “ridiculous”.Once again, Gadot is luminous as the “poor lil’ rich girl”, glowing in the gorgeous retro fashions, though her character has little to do. And Hammer, in what could be his big-screen “swan song”, evokes the thin-mustached 30s “rakes” and “swells”.These river travelers are just as complex and compelling as those rail passengers from the last “crime caper”.

And once again, Branagh does double duty as director helming another Agatha Christie adaptation from Michael Green, a witty one at that. Actually, this follow-up feels a bit more fluid since the previous one went out of its way to get off the train to the point of absurdity (interrogation is the frigid tundra…brrrrr). There’s no great effort to “open it up” since it is a touring cruiser. The stroll through the ruins is eerie (I half expected Karloff to shamble out of a hidden chamber) and exciting, with great use of CGI and drone footage. The “meat” of the tale is on board and the Karnak becomes almost a character itself, with sudden staircases and dark lower decks. The film’s odd choices are really in the opening sequences. The WW1 scenes feel like rehashes of 1917, WONDER WOMAN, and even THE KING’S MAN, though the use of black and white gives it the look of a feverish nightmare. But then it goes from those battle terrors to the London nightclub where Salome provides the soundtrack to a thrusting, gyrating dancehall orgy (I hope several physical therapists were on call to handle pulled muscles and limbs). It’s a weird sweaty mix of DIRTY DANCING, “Cirque du Soleil”, and CALIGULA. Maybe those tiny desserts fueled the contortions. Well, at least the fashions were superb, with everyone reflecting the sun with the crisp variations of white and soft pastels. Ditto for the period furnishings, autos, and sets. For fans of all-star late show whodunits, this is a splendid reworking of the novel and its fondly recalled 1978 movie. DEATH ON THE NILE is an engaging mix of travelogue and mystery that should keep audiences guessing the culprit right up to the big reveal. Now if only Poirot could enjoy a murder-free vacation…

3 Out of 4

DEATH ON THE NILE is now playing in theatres everywhere