It’s been a few years since the Death on the Nile movie finally hit theaters after what felt like a hundred delays, and honestly, the dust still hasn't quite settled. You remember the drama. Between the global pandemic shutting down cinemas and the PR nightmares surrounding certain cast members, it’s a miracle the film actually made it to the big screen at all. But beyond the tabloid headlines, there’s a much more interesting conversation happening among mystery nerds about what Kenneth Branagh is actually doing with Hercule Poirot.
Is he honoring the Queen of Crime, or is he just building a vanity project with a really big mustache?
Watching the Death on the Nile movie is a weirdly polarizing experience. On one hand, you have this lush, almost neon-colored version of 1930s Egypt that looks like a high-end travel brochure. On the other, you have a version of Poirot who is far more action-hero than the "little grey cells" thinker Agatha Christie originally wrote. It’s a bold swing. Some people love the grit; others think it misses the point of a cozy mystery entirely.
The Problem with the "Origin Story" Mustache
One of the biggest swings the Death on the Nile movie takes happens right in the first five minutes. We get a black-and-white flashback to World War I. We see a young, digitalized Hercule Poirot in the trenches of Belgium.
It’s gritty. It’s loud. It’s... a bit much?
The movie tries to explain the mustache. In Christie’s books, the mustache is an expression of Poirot’s vanity and his obsession with order and symmetry. In Branagh's version, it’s a way to hide facial scars from a war injury that also took the life of his "one true love," Katherine. This is a massive departure from the source material. Agatha Christie rarely gave Poirot a tragic backstory because he didn't need one. He was an observer of human nature, not a victim of it.
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By giving him this deep, brooding trauma, the Death on the Nile movie changes the DNA of the character. He’s no longer just the smartest guy in the room; he’s a man haunted by the past. If you’re a purist, this probably annoyed you. If you like modern blockbusters, you probably found it gave the character some much-needed "weight."
Visually Stunning or Just Too Much CGI?
Let’s talk about the look of the film. Michael Green, the screenwriter, and Branagh clearly wanted this to feel epic. They shot on 65mm film, which is the same stuff Christopher Nolan uses to make things look massive and sharp.
But here’s the kicker: they didn't actually go to Egypt.
Almost the entire Death on the Nile movie was filmed at Longcross Studios in England and on location in the Cotswolds. They built a massive replica of the Temple of Abu Simbel. They built a functional version of the S.S. Karnak. Because of this, the lighting often feels a bit "uncanny valley." You can tell when the actors are standing in front of a green screen version of the Nile River. It gives the whole movie a dreamlike, almost artificial quality.
Does it ruin the vibe? Not necessarily. It fits the theatrical, heightened reality Branagh is going for. But compared to the 1978 version—which was actually filmed on location in Egypt with Peter Ustinov—it feels less grounded. You miss the dust. You miss the real sun.
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The Cast: A Mixed Bag of Suspects
The Death on the Nile movie lives or dies by its ensemble. Gal Gadot plays Linnet Ridgeway with a sort of cold, untouchable glamour that works perfectly for a woman who has everything and realizes everyone hates her for it. Emma Mackey, known for Sex Education, is arguably the breakout star here. Her portrayal of Jacqueline de Bellefort is desperate, sharp, and genuinely tragic.
Then there’s the rest of the boat.
- Armie Hammer plays Simon Doyle, and while his performance is serviceable, it’s hard for modern audiences to separate the actor from the controversies that broke right before the film’s release.
- Letitia Wright and Tamara Lawrance bring a modernized energy to the characters of Rosalie and Salome Otterbourne. In the original book, Salome was a drunk romance novelist; here, she’s a cool, calculated blues singer. It’s a smart change that reflects 2020s sensibilities without feeling too forced.
- Sophie Okonedo is a powerhouse. Seriously, every scene she’s in gets 20% better.
- Russell Brand as Doctor Windlesham is... surprisingly quiet? It’s a very restrained performance for a guy known for being the loudest person in any room.
The chemistry between these people is what fuels the mystery. When the first murder happens, you actually believe these people have reasons to want Linnet dead. The movie spends a lot of time—maybe too much—on the setup. We don't even get to the boat until nearly an hour into the runtime.
Why the Ending Still Hits (Even if You Know It)
The core of the Death on the Nile movie is the "Love is not enough" theme. Most murder mysteries are about greed or revenge. This one is specifically about the destructive power of obsession.
Even if you’ve read the book or seen the 1978 film, the climax in the 2022 version feels heavy. Branagh plays Poirot’s final revelation not as a "gotcha" moment, but as a genuine tragedy. He looks exhausted. By the time the credits roll, you realize this wasn't just a puzzle for him to solve; it was a reminder of why he’s alone.
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It’s a dark ending. Probably darker than most people expected from a flashy Disney-distributed blockbuster.
Making Sense of the Changes
If you're planning to rewatch or watch for the first time, keep an eye on the character of Bouc (played by Tom Bateman). Bouc wasn't in the original Death on the Nile book. He was a character from Murder on the Orient Express.
By bringing him back for the Death on the Nile movie, Branagh creates a recurring "sidekick" for Poirot, similar to Captain Hastings in the older stories. However, Bouc’s arc in this film is much more central to the emotional stakes. His presence allows Poirot to show a softer side, acting almost like a mentor or a father figure. It’s one of the few changes that actually helps the pacing of the movie, giving us someone to root for while everyone else is acting suspicious.
Real-World Impact and Legacy
The Death on the Nile movie struggled at the box office, pulling in about $137 million against a $90 million budget. In pre-pandemic times, that would be a flop. In the 2022 landscape, it was enough to justify a third film, A Haunting in Venice, which took an even bigger departure from the books.
What we’re seeing is the birth of a "Poirot Cinematic Universe." It’s a weird concept, but it’s working. Branagh has carved out a niche for mid-budget adult dramas in an era dominated by superheroes.
Actionable Steps for Mystery Fans
If you want to get the most out of this story, don't just stop at the film. The Death on the Nile movie is just one interpretation of a nearly century-old story.
- Read the Original Text: Agatha Christie’s 1937 novel is a masterclass in pacing. You’ll notice how much more clinical and observant Poirot is compared to Branagh’s version.
- Watch the 1978 Version: Peter Ustinov’s Poirot is funnier and more eccentric. Plus, seeing Bette Davis and Maggie Smith trade insults on a real Egyptian boat is peak cinema.
- Check out the David Suchet Adaptation: For many, Suchet is the "definitive" Poirot. His Death on the Nile (Season 9, Episode 3) is incredibly faithful to the book’s tone.
- Visit the Location (Virtually or Literally): The Old Cataract Hotel in Aswan, where Christie wrote the book and where the movie is set, is a real place. It’s a bucket-list destination for mystery fans.
The Death on the Nile movie might not be perfect. It’s loud, it’s heavily CGI-ed, and it gives Poirot a tragic backstory nobody asked for. But it also treats the mystery genre with a level of respect and grandiosity we don't see often anymore. It’s a big, messy, beautiful piece of entertainment that proves Hercule Poirot is still relevant, even 100 years after his creation.