After the successful assassination on the Orient Express, Kenneth Brenner returns to direct and star in another adaptation of Ágatha Christie. Now it's time for death on the Nile. Michael Green signs the script on the case.
As always, a scenario is built, a range of suspicious characters and finally a death, a mystery. The setting is the Nile River inside a ship more specifically. characters depart from the wedding party of a millionaire who married her best friend's ex-fiancé. And death, death you will discover during the plot.
Since she seeks to hide as much as possible, right? What is the mystery of the time trying to keep up to date with everything and also let us know about everything. Death on the Nile is a story that is a little more intimate of the adventures we have of the main character and that is why the film seeks from the beginning, from the very beginning, to put him at the forefront of the plot, including with there, explaining a little more about his origin while human, right? And also as a researcher, so to speak.
What's the criticism? The artificiality screaming on screen for much of the film draws a lot of attention at first photography tries to deceive by delivering transition plans with real scenarios with beautiful and striking landscapes, scenes that seem to belong to National Geographic, but soon decays when it returns to show a cast very prominent from the green background in shots that either needed a scenario so marked so much it didn't need it on several of these times that it is easy to notice in the film as in some others that the green background being very evident happens in such simple scenarios so trivial can only me lead to believe that something external in the case of the pandemic, for example, got in the way of the aesthetic expansion of the film or else there was a lack of money.
The fact is that the photography is very poor in a good part of the project and some scenes manage to border on amateurism. On the other hand, when the film takes a turn, after finally the inciting incident happens and with it the interrogations and the most outstanding performance of the photographer and the director seem, I don't know, wake up, you know? demonstrate tremendous skill in working very well with mirrors and mirrors that shuffle the truth as if we couldn't see it, right?
The perfect reflection of what is being told, what is being edited, what is being said and the camera swaying slightly puts us inside the ship. Speaking of inciting incident, the script wastes a lot of time with the obvious until it reaches its turning point. That turn I was talking about. We have here a slightly deeper story and at first that murder on the Orient Express is at least sold yes, only it is approached more superficially. Well, even those who don't know Agatha Christian's work know that there will be a death, right?
The title already denounces this. The extremely slow cadence of the first act and of more than half of the second act without actually involving us in it in a very strong way, creates a certain boredom that seems to dominate the narrative as a whole. In short, why hide so much, if what is interesting is based on what is revealed. In the end, as someone who simply wants to finish the text, puts the powdered rice telling the details of the investigation and also its decree in front of everyone, you know? In the most theatrical, simple and direct way possible.
In short, a lot of preparation, little walk through the details and later finishing in the explicit frustrating to be in a narrative that could be built while ah gives us clues to participate in that story but then she preferred to hide as much as possible and gave only one character to join all that strange feeling that we are more passengers than those who are there on the ship on the nile. Still at this point, the extreme exaggeration of the figure of Herculio Power on screen, even if it is justified if we compare it to the raw material of the film, I think it could be done here, we are talking about adaptation, right? A little more place and emphasis, why not to the other characters in order to understand who they are and what are the goals of each one, especially the most intimate goals, there is a lack of constructions so that we can get out of the obvious to think along with the story. They preferred to put in the character's mouth what we could simply see, watch a certain waste of the cast that can only be forgiven for two reasons Reason number one, pandemic, right? As I already said. And reason number two, some actors and actresses, they weren't canceled at the time, but today they are considered cancelled. What could have generated there an adaptation of the adaptation during the editing of the film, right? are quite evident at times.
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