Mort sur le Nil

Holds up well, even after multiple viewings. The violence for a PG rated movie is affectively brutal. A slew of great actors fleshing out memorable characters; what more do you need? One of the better movie adaptions of Christie's extensive library, even with a few of its more detailed threads reduced in film form. (It rarely hurts the story)

This contains one of Mia Farrow's best performances.

I had read DEATH ON THE NILE (probably Christie's best novel, superior to the overrated MURDER ON THE ORIENT EXPRESS) before I saw the movie, so I was sure there would be no real suspense. But, to the everlasting credit of everyone involved, the movie does manage to hold the book's air of mystery throughout. It's not as faithful to the book as it could have been--a whole major subplot is given just a few small scenes; several characters who were more substantial in the book are reduced to barely more than window dressing--but it is remarkably true to the main story, sticks to it nicely, and allows both Poirot and the viewer to come to such a completely logical conclusion about the murder that you will wonder on repeat viewings how you could have possibly missed the clues the first time.

The real gems in this film are not the leads and big names, but the smaller parts--Simon MacCorkindale as Doyle, Lois Chiles as Linnet, Jane Birkin as Louise. In particular, Simon MacCorkindale (more familiar to American audiences from MANIMAL, FALCON CREST, and COUNTERSTRIKE) is a criminally underused actor, and he does a spectacular job here in this, his first movie role, playing the hopeless and hapless Simon Doyle, caught between two captivating women (Lois Chiles and Mia Farrow--wow, what a choice to have) and ultimately driven by greed as he chooses between them.

This film is finally out in DVD, and widescreen at that, so if you like good murder mysteries and old-fashioned costume dramas, pick yourself up a copy and prepare to be entertained.

An heiress is murdered while honeymooning on a Nile cruise. Fortunately, the famous Belgian detective Hercule Poirot is holidaying on the same paddle steamer, and begins an investigation. However, it would seem that all of the other passengers on board have clear motives for committing the murder.

This was the second of Agatha Christie's novels featuring Hercule Poirot to be filmed, after the success of 'Murder On The Orient Express' a few years earlier. The great Peter Ustinov, who so recently passed away, took on the role this time, and injected it with his own droll humour. Indeed the whole film seems rather tongue in cheek, with the all star cast having fun with their roles. Bette Davis, Maggie Smith and Jack Warden all enjoyably ham it up, but Angela Lansbury manages to outdo them all with a delightfully over the top performance as the perpetually drunk author of erotic novels. David Niven, ever the archetypal British gent, proves a good foil as Poirot's partner in the investigation.

Where the film really scores is in the locations and photography. Egypt proves a stately backdrop to proceedings and veteran Cinematographer Jack Cardiff makes the most of it. The 1930's setting also gives an air of genteel opulence to the surroundings. While the film couldn't claim to be a classic tension filled mystery, it is a pleasant, laid back and enjoyable entertainment, that's clever enough to keep you guessing until the end.

This movie was the first and best of Peter Ustinov's performances as Hercule Poirot. Though physically not very accurate to Agatha Christie's description of the little Belgian detective, for this one movie everything worked and the discrepancy was not a problem. The film is well-paced, with all the plot turns and clues coming with perfect timing, not too fast to be confusing, but not too slow to strain the rather flimsy fabric of the story. The whole cast is very good, especially Bette Davis as a malevolent old spider of a woman, gleefully tormenting her long-suffering companion, Maggie Smith. The scene where she smiles indulgently at a group of Egyptian children waving at her on the river bank, only to sink into mortified disgust as they turn around and moon her, is a highlight of the movie. The climax of the film is quite surprising, and unlike many mysteries, does not cheat the viewer by withholding vital information until the last moment. We feel the pleasure of being honestly fooled throughout, and the conclusion is thoroughly satisfying.

Jack Cardiff was the director of photography, Anthony Powell, the costume designer, Nino Rota composed the score, Anthony Shaffer signed the screenplay and the list goes on and on and I haven't even mention the cast yet. Agatha Christie's novels have a structure that is a sort of cardinal rule. Murders, a set of suspects, all of them with a motive for the killing and then the unmasking of the killer or killers. Anthony Shaffer, the author of "Sleuth" milks it for all its worth. Snippets of wit trying not to obstruct the implausible plot. Tough gig. Dressed in a fantastic Nino Rota score, Jack Cardiff does his marvelous thing and Anthony Powell envelopes the stars in costumes that are not only stunning but character revealing in the most entertaining way. Peter Ustinov's Poirot is great fun and the cast moves through the carefully plotted story with disarming precision. Mia Farrow is the only one who plays it for real. Her jealousy is so believable that in a way we're guided by her pain and dismiss the obvious. Bette Davis does a Bette Davis impersonation for our benefit, I guess, and she gets away with it. Maggie Smith, Davis's long suffering lady in waiting, is always fun to watch and I imagine she had a lot of fun herself pushing around Bette Davis. My favorite? Angela Lansbury's Salome Ottobourne. Her alcoholic pulp fiction writer is a complex, compassionate, realistic caricature. David Niven,Jack Warden, Jon Finch, Olivia Houssey, Lois Chiles, Jane Birkin etc complete the who's who of this whodunit. I haven't mention the director: John Guillermin, from "The Towering Inferno" fame.