Death on the Nile - Movie Review

After starting a leisurely boat cruise on the Nile as an Agatha Christie’s Belgian detective Hercule Poirot portrayed by Peter Ustinov, the movie turns to evil fate when a newly wedded wealthy girl is found dead. During the investigations, Poirot comes across the complex web of personal relationships and concealed motives between numerous interesting characters, which become important on the way to the revelation of the intelligent killer.

The main themes for the ‘Death on the Nile’ are the passion for money, deception, and the lie of the richest people. The tone is mysteriously dramatic and, at the same time, amusing – moments of humor are gently inserted into the flow. Adding another layer of suspense next to the grand scenery of Egypt, the story comes out as exciting whodunit experience which any mystery lover will appreciate.

In terms of the acting, the film is rather strong, especially with Peter Ustinov giving unique spin on the character of Hercule Poirot. Ustinov brilliantly gives it a fine and understated comedy while still portraying Poirot as the world’s leading detective. Side actors Helena Montgomery, Michael Spartis, George Coe, George Rose, Robin Raphel, Stephen McEveety, Patricia Elliott, Heather MacRae, Gice Parker among others give vivid and complex personalities, all having some hidden aspect to themselves besides working heterosexual secrets into the plot that serves as an addition to the suspense of the narrative.

John Guillermin in the process of shooting and staging on screen works of Agatha He was brilliant in handling the suspense and character progression of the film all throughout its progression.

Music of the ‘Death on the Nile’ was aptly composed by Nino Rota that very well matches with the location and mood of the film. Its plot is rather unobtrusive and at the same time captivating, and the same can be said about the music that beautifully (and rather menacingly) complements every single scene. Through its music, Rota helps the viewer get acquainted with the opulent but dangerous atmosphere of the Nile cruise.

Remarkable Egyptian scenery by the director of photography Jack Cardiff contributes to the film greatly. The vastness of the desert and the eerie intrigue of the riverboat give the audience a stunning visual palette with which they immerse into the rich opulence of the film.

The movie is a true feast for the eyes – the art direction is nothing short of terrific. The more important of the two exigent settings is the detailed and very convincing re-creation of a luxury riverboat from the 1930s that serves to transport the characters through Egypt; as does the movie enhance the setting it props itself up with the feel of a historical period. The main sets are decorated with detail and opulence and are a beautiful homage to the decadence of the time period.

In ‘Death on the Nile’ the world is not altered by the use of effects, but the stetting and props are lush and give the audience a solid grounding in the locations and time period. In this area, the manner in which tension and severity within key scenes are emphasized through the film’s effects contributes to tension and historical authenticity.

Malcolm Cooke has done a brilliant job in the way he has joined the various twists of the plot section of this film. The rhythm of changing scenes fits the film’s plot and earns clarity in the mise-en-scene of motives and witnesses amidst numerous clues.

As for ‘Death on the Nile,’ it is appropriately laconic in pace that suits its rather elaborate and detailed plot. Spending more time establishing where the characters are doesn’t slow the story; instead, it tightens the focus on the assassination mystery so that when new information is introduced, the suspense stays high and the viewers stay engaged as Poirot works to solve the crime.

Indeed, the dialog with its clever social commentary echoes the wit of Agatha Christie. Every line contributes to the plot development, everything is stylized with a hint at motives, a shade of the character, while keeping the true film atmosphere – dignified yet tense.

Even in this, ‘Death on the Nile’, some may find the pacing a bit slower in some parts. The rigorously faithful adaptation could also be seen as having no spin of today for a breath of fresh air or invigoration occasional with such energetic reprise.

Feeling of ‘Death on the Nile’ is as if watching a movie in a time-machine where elegance and cunning mystery is the setting. The viewer is offered a real brush by the English writer, as well as a unique look at the duel of wits with a solid denouement and, finally, the selected cast, direction, and the quality of the shooting add up to the minuses of the mystery genre.