Agatha Christie was born in 1890, and the heyday of movie adaptations of her novels goes quite a ways back (like, 70 or 80 years). The whole structure and flavor of this sort of delectably engineer…
Agatha Christie was born in 1890, and the heyday of movie adaptations of her novels goes quite a ways back . The whole structure and flavor of this sort of delectably engineered whodunit, with its cast of suspects drawn in deliberate broad strokes and its know-it-all detective whose powers of deduction descend directly from Sherlock Holmes, is rooted in the cozy symmetry of the studio-system era.
“Murder on the Orient Express” was actually an event movie . But the Christie adaptations that followed — “” , “The Mirror Crack’d” , “Evil Under the Sun” — were half-baked suspense films that felt, collectively, like the fading embers of a genre. In recent decades, the Christie formula has seemed more at home on television , where it has come off as less hermetic and precious — that is, untilpicked up the gauntlet for his 2017 remake of “Murder on the Orient Express.
“Death on the Nile,” based on Christie’s 1937 novel, is essentially Branagh’s sequel to that film, and I was eager to see if he could tighten the screws on his version of the Christie genre. He does. The new film is crisper and craftier than “Murder on the Orient Express”; it’s a moderately diverting dessert that carries you right along. It never transcends the feeling that you’re seeing a relic injected with life serum, but that, in a way, is part of its minor-league charm.
Apart from Branagh, the first star of “Death on the Nile” is the Nile. Early on, the Egyptian locations feel a touch synthetic — you can tell the Pyramids are CGI — but by the time the characters are wandering through the dusty nooks and crannies of Abu Simbel, the massive riverside temple carved out of a cliff as a monument to King Ramesses II, it becomes a backdrop of arresting majesty. The second star is the S.S.
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