Another Death on the Nile

I love a whodunnit even when I know who did it. And who doesn’t know who did it in Agatha Christie’s Death on the Nile? It’s Kenneth Branagh’s second outing as the Belgium sleuth, with a tash so vigorous you wonder how it stays up. Branagh first cut his teeth as Poirot on Murder on the Orient Express back in 2017 where he introduced us to a more troubled, introspective private eye, quite different from the fastidious and slightly fey comic version we’ve come to expect. This time around we learn more about Poirot’s back story: a man scarred in every sense by the savage reality of the Great War. This isn’t quite as Agatha wrote it and, no doubt, purists will hate the update. When the elegant SS Karnak set forth once again on that fateful Nile cruise, many critics asked why bother? I, for one, enjoyed the choppy adventure.

Sex, Lies and Murder

We’ve seen a few films recently, most notably God’s Own Country, a windswept tale of romance and raunch between a monosyllabic, emotionally-repressed Yorkshire hill farmer (Josh O’Connor – the literary one from the Durrells) and an enlightened and worldly-wise labourer from Romania (a superbly self-possessed Alec Secăreanu). It’s a kinda coming out tale for the Brexit generation and a tad ironic given the reception gay people usually receive in Romania. Liam thought it was all a bit too Wuthering Heights. I enjoyed the desolation but only because it was finally relieved by a bit of boy-gets-boy at the end. The critics praised the film but damned the redemption. Critics seem to love grim tales that leave you reaching for the gin and pills.

We also saw The Party, a dark satirical farce filmed entirely in black and white about a soiree of smug, fizz-swigging Islington intellectuals whose lives (and leftie credentials) visibly unravel before your eyes. They wriggle while the vol-au-vents burn. I really wanted to like this film but didn’t. There were some great lines…

“You’re a first-class lesbian and a second-rate thinker,”

…and a great twist at the end but it all got a bit too slapstick – and not half as clever as it thinks it is. I nearly reached for the gin and pills.

And then came the main event. Murder on the Orient Express is arguably Agatha Christie’s most ingenious plot. I’ve seen the 1974 star-studded version many times so I know whodunit but did I care? Kenneth Branagh’s re-make (both as director and as Poirot – the Belgian sleuth, sporting gravity-defying face furniture) may be slightly less stellar, cast-wise, but it more than made up for it with spectacle and opulent period detail, dishing up characters less cardboard cut-out than the usual Christie servings. The famously snowed-in train provided an afternoon of pure escapism that really dried out a rainy day. It sparkled – from the dramatic Istanbul skyline to Branagh’s anguished Poirot. Later, we raised a gin or two to the new Hercule. No pills required.

Murder, She Wrote

After I survived the surgeon’s knife, I was told to put my feet up and let nature do the healing so I’ve been doing the bare minimum to keep the wheels on the bus of Jack Scott enterprises. I must admit, my lolling about on the sofa has involved a fair amount of daytime TV – a thin diet of magazine programmes, flashy quiz shows, racy gossip, silly soaps, mindless vox pop, meagre news and convoluted whodunnits. It’s all been quite soporific and great for helping me catch up on my sleep. This healing lark is so exhausting.

Occasionally though, a classic grabs my attention and holds it for the duration. Such is the 1974 film version of Agatha Christie’s Murder on the Orient Express with a stellar ensemble headed by Albert Finney in the role of Hercule Poirot, Ms Christie’s fey and fussy Belgian detective. I’ve seen the movie loads of times. It’s hugely OTT and I can only assume that the cast laid down bets during the first read-through on who could ham it up the most. My vote goes to Wendy Hiller as the ageing Russian princess, all lacy widow’s weaves and truly dreadful Romanov accent. She would have given the Bolshies a run for their money. Sadly, along with Dame Wendy, most of the players are now dearly departed – Anthony Perkins, Ingrid Bergman, Rachel Roberts, Denis Quilley, Colin Blakely, John Gielgud and, of course, the fabulous Lauren Bacall who popped her clogs just last month.

It’s rumoured that Agatha Christie wrote at least some of her famous book when she stayed at the Pera Palace Hotel in Istanbul back in its glory days, the digs of choice for princes and presidents visiting the Ottoman capital. I’ve lodged there myself a couple of times during its more recent rundown years. Or as I put it in the new book (cue the plug):

“The Pera Palace was once the opulent end of the line for the Orient Express but had fallen on hard times, a piece of Istanbul’s neglected family silver in dire need of a good buffing.”

Chapter Eight, The Best of Times, the Worst of Times

It was Liam’s first visit to old Constantinople and we endured four seasons in three days – driving snow, bitter winds, low grey clouds and sparkling sunshine under blue skies. Our room at the Pera Palace was so cold, we were forced to share the huge antique bathtub to keep warm. It wasn’t too much of an imposition. Since then the hotel has been buffed to buggery with a multi-million lira facelift. Even the prolific and profitable Ms Christie might now baulk at the rack rate (if she were still alive, that is).