Watching the Detectives

Although Chester’s Odeon cinema reopened as Storyhouse in 2017, after being closed for ten years, it is a very different beast to the Art Deco cinema I regularly went to in my youth. Where the screen once was is now an open space giving access to the new theatre. Whilst I have seen several excellent productions in the theatre, I have not been tempted to view a film in the new cinema.
Instead I prefer the multiplex at nearby Cheshire Oaks. Only ten minutes drive away from our flat, plenty of free parking, loads of places to eat and drink nearby and - most importantly - a plethora of choice of films and screening times. The fact that the area was totally rammed last night speaks volumes about the success of that particular business model.
We had gone to see the new Kenneth Branagh interpretation of Death On The Nile which he both directs and stars in as Hercule Poirot. This film is a delayed (bloody Covid!) sequel to his remake of Murder On The Orient Express and, like that film, is sumptuously filmed and stays close to the original Agatha Christie version. I’m guessing the fact that her grandson is listed as an executive producer is a factor there.
I thoroughly enjoyed the film, though anyone familiar with the 1978 Peter Ustinov version will know who the killer is - and how they did it. But I like Branagh’s characterisation of Poirot as he shows that underneath the calm, logical exterior, there are deeply suppressed emotions which are not always held in check.
A great cast, stunning scenery and a real - and accurate - evocation of the 1930s. As a guitarist, I had initially queried if the electric guitar being played in 1937 was accurate, but a quick Google soon revealed that the Gibson ES 150 was introduced in 1936 and quickly became popular on the Blues and Jazz scenes. So top marks to the makers for period accuracy!
With the proviso that you might know “how it ends”, I would recommend seeing it if you get the chance.