‘Death on the Nile’ (1978) faithfully and lavishly adapts Christie’s gem

The 1978 version of “Death on the Nile” has stayed afloat as one of the elite film adaptations of an Agatha Christie novel. Anthony Shaffer’s screenplay stays true to one of Christie’s most masterful plots. I can imagine unsuspecting viewers hanging on every word as Poirot reveals whodunit, again gathering everyone together in the style of 1974’s “Murder on the Orient Express.”

Rolling (film) down the river

Being familiar with the conclusive twist, I appreciated the expert staging and acting in director John Guillermin’s film. As fans know, many scenes have to play believably for both the unsuspecting viewer and for readers who know what the culprits are up to. Every one of those scenes is played fair by the screenwriter and actors.

The posh river cruise setting – lavishly shot along the real Nile — makes the movie appealingly timeless, although – like “Orient Express” – it takes place in the 1930s. There’s a danger this could be a stodgy costume drama, and I do think it’s long at 140 minutes, 13 minutes longer than the 2022 adaptation. Despite some slow spots — including a long buildup before the rock-fall moment — it doesn’t lose my attention.

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The actors put on a show with a slight tinge of murder-mystery-insider humor we’d later see brought to the fore in “Clue,” paired with some laughs – mostly with Poirot rather than at him. This is technically a sequel to “Orient Express” ’74 – it’s from the same producers and features the same poster art style – although you don’t have to watch them in order.

I like Peter Ustinov’s Poirot more than Albert Finney’s, because he’s less bombastic in displaying the sleuth’s arrogance. Ustinov (who would play the role in five additional films) still projects supreme confidence, but doesn’t insist on stealing the show. This likewise contrasts with director-actor Kenneth Branagh’s approach in the 2022 version.

Ustinov brings a slight slovenliness – notice the hefty Belgian eating someone’s leftovers amid his investigation – that’s at odds with Christie’s and David Suchet’s mannered Poirot. But that probably wasn’t much of a concern to 1978 viewers.

All-star cast brings A-games

Speaking of quibbles, Colonel Race (David Niven) is older than Poirot here, and he’s younger in the novels. But I do like that Shaffer dispenses with Christie’s thread of Race investigating an entirely unrelated espionage case on the Karnak. Shaffer tightens the plot – and the boat’s passenger manifest — by having Race investigate an angle related to the core narrative.

The cast is in sync, balancing showmanship with a tragic drama about desperate people. Angela Lansbury (later to play Miss Marple) chews – or should I say “drinks” – scenery as risqué-romance novelist Salome Otterbourne. A more subtle diva turn comes from Bette Davis as Mrs. Van Schuyler.

Lois Chiles successfully walks the tightrope as boyfriend-stealer Linnet. She contrasts nicely with Mia Farrow’s nutso Jacqueline, who follows Linnet and new husband Simon (Simon MacCorkindale) – Jacqueline’s ex — throughout their vacation, claiming coincidence. As is intended, we like and dislike aspects of both women.

Also of note are: the pretty Olivia Hussey as Linnet’s put-upon maid, “Naked Gun’s” George Kennedy as Linnet’s scheming attorney, “Harry Potter’s” Maggie Smith as an assistant who doesn’t take guff from Mrs. Van Schuyler, and veteran Jack Warden as the German doctor. In a smaller role, I.S. Johar provides smiles as the Karnak’s eager-to-please manager.

A deserving Oscar winner for Best Costume Design, “Death on the Nile” ’78 is old-fashioned, healthy-budget studio filmmaking that’s faithful to the novel while adding cinematic zest. Christie died before it came out, and she was notoriously less-than-thrilled with many adaptations of her work. But I suspect she would’ve liked this one.

Sleuthing Sunday reviews an Agatha Christie book or adaptation. Click here to visit our Agatha Christie Zone.