As anyone who listened to our March episode on three film adaptations of Agatha Christie’s whodunits can tell: no one at A Damn Fine Cup of Culture is a big fan of Kenneth Branagh’s Hercule Poirot. The erstwhile Shakespeare wunderkind tried his hand at the Belgian super-sleuth three times, with Murder on the Orient Express (2017), Death on the Nile (2022) and A Haunting in Venice (2003). Admittedly, we’re not the first ones to say an emphatic non to Branagh’s Poirot – but, having just recently taken a closer look at the Knives Out films, which feature a different modern movie detective that nonetheless takes more than a few cues from Agatha Christie, and from Monsieur Poirot himself, Sam and Alan nonetheless felt it was high time to give Branagh’s trio of period thrillers another chance.
Do they improve when approached with tempered expectations? Can they be salvaged, or do they remain not just second-best versions of these stories but downright failures of adaptation? How do the ensemble casts compare to those put together by Sidney Lumet in the 1974 version of Murder on the Orient Express and John Guillermin in 1978’s Death on the Nile? And just what is up with that moustache?
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