Customer Reviews

Poirot - Death on the Nile

5 star:		(11)
4 star:		(4)
3 star:		(1)
2 star:		(3)
1 star:		(3)

 

 

Suffering only in comparison with its illustrious 1978 predecessor, this continuation in the David Suchet series of Hercule Poirot movies debuted on A&E television (who co-produced this movie) only last weekend and had me reveling in its almost quaint, vintage British-ness of it all.
Possibly one of Agatha Christie's most enduringly popular novels and certainly one of her best crafted who-dunnits, it is surprising that it took so long for Suchet and company to get around to filming this suspense thriller. Perhaps it was for fear of comparisons with the star-studded Peter Ustinov theatrical feature, or perhaps it was the sheer budgetary restrictions of filming in Egypt? Whatever the reason, I was elated to see that, after almost two decades of playing the trusty, sometimes eccentric French (errr...okay Belgian) detective Hercule Poirot, that we finally have the excellent David Suchet tackling this favorite of mine.
Unable to compete with the earlier version in terms of star power (David Niven, Bette Davis, Angela Lansbury and Maggie Smith were just some of those in the 1978 adaptation) what this production does boast is some stunning location photography and a tour de force performance by fan favorite Suchet.
Based on Christie's 1937 novel of the same name, this tale of intrigue and mystery is a cleverly woven riddle of red herrings and double crosses that center around a spoilt heiress Linnet Ridgeway who appears surrounded by enemies on a honeymoon trip down the Nile.
Before the trip is over Ridgeway will lie dead along with two others, murderer(s) will be exposed and Poirot will have the satisfaction of having tackled one of his most puzzling mysteries. But, of course it's the getting there that is most of the fun.
To say more is to spoil many of the surprises in this movie but it was great to see James Fox give valuable assistance to Poirot (in the role Niven played in 1978) and the scene that finally unmasks the guilty party is handled expertly.
Sit back as you would with a good book and just indulge yourself one evening to one of the finest (and best crafted) who-dunnits to come across the screen since 1978.

This A&E version of Death on the Nile is not a full length movie and as a result it lacks the length and depth and intricate detail of Ustinov's version but this version also lacks the often over-the-top over acting that was so pervasive in the Ustinov movie (Davis, Landsbury, both ludicrous, among others). A lot of details had to be left out of the A&E attempt simply because of the constraints of time and because of this, the A&E version is flawed, though not critically in my opinion. I really preferred the lack of big name stars; those in the Ustinov version were critically distracting. I didn't care for the silly Hollywood humor in the Ustinov version ("This takes the camel's hump!") and prefer the seriousness of the A&E version. And while I did enjoy Ustinov's portrayal, I kept seeing Ustinov and not Poirot. With Suchet, it is just the opposite and this is why I prefer this version to the 1978 movie. Yes details are glossed over, yes it is overly serious (the 1978 version though seemed to trivialize the murders), but this version succeeds nicely for me because of Suchet's simply excellent, carefully wrought portrayal. He really IS Hercule Poirot.

Agatha Christie's 1937 murder mystery adapts well to film and television format. It offers the obvious travelogue element, provides opportunities for the music and clothing fashions of the day to be presented, and its action involves a group of passengers on a journey. The 1978 film adaptation exploited all these elements lavishly. It also incorporated a series of "re-runs" of the principal murder, showing how it was possible for almost all of the passengers to have committed it. This TV adaptation, on a smaller scale in all respects, provides enough of the entertainment, the suspense, and the final shock revelation to add up to a very satisfying treatment.

Many famous actors have portrayed Agatha Christie's sleuths. Many have succeeded though few have closely approximated to the originals. Agatha Christie herself would no doubt wish that David Suchet could be adorned with a much more luxuriant moustache than the little "clip on" one seen here.

Poirot - DEATH ON THE NILE. The new Poirot series produced by A&E is excellent and I would encourage all Poirot and David Suchet fans to purchase these DVDs, however, when it comes to this particular story, I still prefer the Peter Ustinov version with Mia Farrow, Betty Davis and Maggie Smith.

The irony of the new series is that Suchet has literally grown into the part so he seems more natural in this episode than ever. I recall that when he made the earlier Poirot films which included his pal Captain Hastings and counterpart Inspector Japp, Suchet was padded with pillows and makeup to make him appear older. Now he apparently fills the role with no `extra' assistance from wardrobe.

In spite of the inevitable comparison with the Ustinov interpretation and missing the pals in whom he confided and who often aided his crime solving, I enjoyed this story very much. The filmography is beautiful. The BBC uses lavish sets including the river boat and costumes. The original film with Ustinov showed a good deal of actual footage shot in Egypt. This issue of `Death on the Nile' appears to have some shots in Egypt, but to tell you the truth, they could have shot most of the film elsewhere...for example Central or South America. Population growth and war have altered the terrain in Egypt considerably since Agatha Christie wrote her novel, which takes place around the 1930s.

I'll begin by saying that I'm a fan of the original TV series, so I watched this expected it to be just like the originals.
It wasn't.
Let me say that I'm not against improvements in TV shows, radio shows etc. just because it isn't the same as the original. However, the changes made in this film took away, rather then added, to the series.
If you've never seen the originals, you may not have a problem with this film. But let me warn fans, you may potentially have a serious problem with this new rendition of "Death on the Nile."

The cinematography has been modified from the originals, and not to the benefit of the series. For example, in flashbacks, when Poirot describes the crime, the director decided to washed-out the colors, which was completely unnecessary. In a stabbing scene, music that was quite reminiscent of the "Psycho" shower scene music was used, which was completely cheesy.

None of the original characters (besides Poirot) are in the film. This, naturally, takes away a lot from the movie since the friendships between the characters in the TV series was a major part of what made this television show great.

Also, the signature theme song was gone.

Overall, I felt the product had a tacky feel to it, and certainly did not contain the kind of sophistication of the originals. As I said, if you've never seen the originals, you may not mind this, but if you are a fan of the TV series, take this into consideration before you decide to buy this.

Every once in a while, an actor comes along who not only plays the role of Sherlock Holmes, but actually redefines the role. Well, this has now happened with Agatha Christie's detective, Hercule Poirot! In 1989, veteran actor David Suchet (b.1946) was tapped to play Poirot, and the rest, as they say, is history.

This DVD contains a classic Poirot murder mystery - Death On The Nile. When Linnet Ridgeway stole Jacqueline De Bellefort's fiancé, it seemed the perfect coup. But, when Jacqueline pursues Linnet and Simon on their honeymoon, Poirot realizes that the situation will lead to destruction. And, when Linnet Ridgeway is found dead in her stateroom, murdered, it is up to the famous Belgian detective to figure out who did it, and how. The obvious suspects have iron-clad alibis, but Poirot soon gets to the bottom of it!

This is a very good Poirot episode - my wife's favorite. (I can't help it, I think that the ABC Murders is the greatest of them all!) Overall, I found the mystery to be very well done, with me not seeing how it was done until it was explained at the end. Now, some people criticize this one as not so well done as the others, but all that I can say is that my wife and I thoroughly enjoyed it, and do not hesitate to recommend it.

I certainly don't believe the Ustinov version is perfect (it's not), but the newer Suchet version is a disaster. How people think this is loyal to the book is beyond me. Maybe in form but not in substance. Characters who are well-developed in the book, like the Allertons, are made into completely repellent caricatures in the film. Much of the acting has a campy, brittle quality, like Noel Coward on a very off day. It's a shame, because this is one of Christie's best novels, both in terms of plot and character. Unfortunately, the director and screenwriters had little respect for Christie's novel. A total misfire, like the dreadful versions of Blue Train and Cards on the Table.

With "Death on the Nile," the producers of the A&E "Poirot" series can claim to have broken all ties with the original British program starring David Suchet, save the presence of the star. The qualities that made the original program endearing-the wit, the exquisite production design, the fastidious attention to detail, the superb character acting of both the regulars and guests-are gone. That is not to say that this new Poirot is completely devoid of redeeming qualities, just that they pale in comparison with the original series.

The novel from which the movie is derived provides one of Christie's more complexly interwoven series of plots and sub-plots. It is no coincidence that the late 70s theatrical version starring Peter Ustinov ran well over two hours, and even at that simplified the story considerably. This new adaptation effectively eliminates the motivations for murdering the victim for most of the characters, and even those with motivation are given barely a scene or two to express those reasons. There really isn't much going on at all except the central love triangle and Poirot's sage pronouncements on the sidelines.

Even so, the movie seems to be rushing to its conclusion, as if all involved had other commitments they were eager to fulfill. Even Suchet just seems tired of the part, racing through his summing up speech as if reading a laundry list. (And the screenwriters really should be shot for burdening Poirot with pensive regrets about his failed love life. If there is one thing true of Christie's Poirot, it was that he didn't give a hoot about emotional entanglements. This is a sentimental hack's notion of "deepening" a character best known for his airy aloofness.)

The compensations? Some nasty humor at the edges which may not be everyone's cup of tea. Some nice location photography, and the occasional odd bit of behavioral detail from some of the supporting players. Alaistair MacKenzie as the aristocrat going through a Marxist phase and Steve Pemberton as the mysterious Dr. Bessner stand out. At their best, they are within calling distance of the better character playing in the series, although in Pemberton's case, at least, the character has been stripped of any motivation, and thus is something of a gratuitous appendage to the mystery.

Otherwise, it's a depressing lack of distinction across the board. A&E would be doing all of us a favor by stopping now, while they are behind.

This reviewer considers the original 1978 British film; "Murder on the Orient Express"; and "The Last of Sheila"; as the three best mystery films ever made. Both the 1978 version and this A&E remake follow the basic plot of the novel but take liberties with the details: Characters are combined or omitted; dialog is drastically revised; lesser circumstances are changed.

This A&E remake is not bad, simply disappointing. The opening sex scene and cocaine use are uncalled-for non-Christie fabrications. Material from the novel's opening pages is confusingly sandwiched in or passed by altogether: The initial Southwood scene from the novel (omitted in the 1978 original) is a plus, but gutting Andrew Pennington's background is a serious minus. The dining-room conversation between Poirot and Salome Otterbourne about the other passengers is annoyingly incomplete. Making each passenger a suspect with motive and opportunity is absent. When the story finally gets rolling, one struggles with a muddled conglomeration of characters of unknown motives. But can more be expected with only 97 minutes, a modest budget, and the respect shown the novel's complexities?

These problems were avoided in the original film (140 delicious - and expensive - minutes). The novel's fragmented opening pages were given considerable embellishment and cinematic continuity by folks with very fertile imaginations who were very much in the spirit of things. Poetic license with the characters and their motives was taken to produce a film that SHOWS, not just TELLS: One SEES the clever portrayal of Linnet stealing Simon away from Jackie. One SEES the deception planned by Linnet and Simon to escape Jackie on the ship cruise. One SEES Poirot's shipboard wine bottle being drugged. One SEES each shipboard character's motivations for becoming a major suspect. One SEES how each suspect could commit the murder(s), acted out front and center! That film represented movie making at its finest, employing the full cinematic potential of the novel.

Peter Ustinov made an excellent Poirot in the original, suitably nuanced to fit his personality and physique (see the making-of special feature included on that DVD). Here, the performance of David Suchet (who has become the archetypal Poirot through the sheer volume and force of his past performances), while adequate, is much too serious and lacks the light-hearted flourishes afforded by imaginative direction that so endears his character in other adaptations. Emma Malin turns in a modestly OK performance as Jacqueline de Bellefort (though not approaching that of Mia Farrow's). Frances de la Tour does well as Salome Otterbourne (outrageously and hilariously portrayed by Angela Lansbury in the original). The other (unknown) actors' characterizations are undistinguished.

The DVD's (4x3) picture quality and sound are good. The cinematography is above average for TV productions, but is no match for the big budget original's magnificent wide-screen presentation with elaborate studio sets created to support it. The A&E sound-track is unnecessarily intrusive, loud music becoming a substitute for character emotions and acting. At one point the music almost overwhelms even the conversation. (What is it with these technicians anyway? Do they ever actually review what they put together?)

You think the crime has not been committed here? You put rather the anger on this reviewer, the no gloves of kid words, the three stars, nes pa? Consider well, mon ami. Would you rather such finite efforts (make not the mistake, they ARE finite) be squandered on unnecessary remakes or used for brand-new, never-before-filmed Poirot-Hastings-Japp-Lemon adventures? You like that A&E spend more FINITE RESOURCES on second-class remake of, say, the Murder on Orient Express? Le crime, il est partout!

This is my favorite production of Death on the Nile. The 70's version with Angela Landsbury is great and what originally turned me on to Agatha Christie novels and movie adaptations, however the acting and production values in this one are much better. Lots of detail went into costumes, makeup, background decor and music and that adds so much to the ambiance of a film. I also love David Suchet and the acting in this film, particularly the characters of Cornelia Robinson and Jacqueline De Bellefort. I highly recommend this adapation!