Death on the Nile
20th CENTURYIn a year of not one but two Kenneth Branagh directed features – with one tipped for academy award recognition based on the actors' own childhood in Belfast and the multiple-year delayed Agatha Christie Death of the Nile follow-up to his mixed reviewed Murder on the Orient Express – fans of Branagh have the best of both worlds.
As a fan of Murder on the Orient Express or someone who found it pleasantly fun, Death on the Nile perfectly captures and continues that very entertaining feeling of a murder mystery brought to the mainstream by a passionate actor and director who has a terrific eye for aesthetic. Granted, this might be a challenging ride for anyone who has trouble with this feature’s predecessor or just can't quite jam to the beat that Branagh deploys in his aesthetic or character. Nevertheless, those who find this genre immersive and inviting will find it notably fun.
To be fair to Branagh, this is not just another rehash of Murder on the Orient Express, but its own unique beast. For starters, it is far more grandiose and explorative in nature – not only in character but in location. It does not have the claustrophobia and tension that comes with that aesthetic in its predecessor, but here, the openness and space are well accounted for and calculated to thrive on its own atmospheric and intense merits. Branagh captures the grandiose nature of Eygpt exquisitely in its blistering sun and use of wide angles, giving personality and identity to proceedings that provide character and mood. Elements that reinforce the tonal exploration and hidden nature of each separate character but craft an elegance that the production and set design shines in.
That being said, what is more surprising and more memorable than the 65mm film Branagh uses is capturing his characters' sensual, alluring nature. The passion and intoxication not only feels romantic but wildly palpable on screen. Most notably: the first act night club sequence has a wondrous blistering romance that explodes and bewitches viewers. This is due partly to Branagh's camera work with Haris Zambarloukos’ cinematography, an intense highlight and uncovering and showcasing said passion.
Yet it can not be achieved without the performances of which – the now controversial – Arnie Hammer and Emma Mackey have startling chemistry on screen, but it does not stop there. Sophie Okonedo's character, Salome Otterbourne, has this wonderfully playful and flirtatious energy with Branagh's Poirot that is subtle yet wonderfully suggestive and humanising. A factor that Branagh consciously explores here is creating small but integral substances of back story and mood that allows Branagh to be more emotionally explorative with his character but allows the audience to participate in the characters grief and emotional journey.
This feeling of exploration is not just prone to Poirot but is extensively investigated on the whole, with the story taking quite a slow pace and running time to grab as much flavour and narrative as possible to craft an immersive atmosphere with detail. Granted, once the story begins to take shape, moments and sequences of the stitching of this murder mystery are anything but subtle, with the writing a notable distinction in what quality this story is providing. Nevertheless, the story and characters constantly feel gripping and engaging regardless of how conventional this story ultimately becomes.
Notable stamps here in performance come in the shape of Russell Brand, who plays it ever so straight but proves he has a wonderful and courageous range within his ability. Emma Mackey is an utter delight and continuous reminder she is not the one-hit-wonder of Sex Education fame. Showcasing superb range and, as aforementioned, an outstanding degree of sensuality brought to the role. There are a few missteps or underwhelming additions with Rose Leslie's talents, for one, lost in the shuffle – especially how integral her character is meant to be in terms of an emotional crux. While Gal Gadot manages to put forward a character here, she, like usual, can not reasonably provide a particular immersion or interest with what is a wooden and entirely stalled range that stumbles once it gets out of first gear. Nevertheless, it suffices for the tone and immersive quality it entails, just about any way.
Branagh brings a warmth and often broodish exploration of love and affection to this feature that ultimately makes it a remarkable and far more emotionally beautiful immersive venture. It highlights a far more likeable but humanised Poirot and further uncovers the devastation and pain of crimes presented in archetype features within this genre that are committed, bringing a personalised and ultimately immersive venture to proceedings. Helped on by a great sense of sensuality and eye for aesthetic and cinematic quality, Death on the Nile is a long-awaited but thankfully terrific experience.
