Tag Archives: Tom Bateman

FIVE REASONS THIS COULD BE GOOD – DEATH ON THE NILE (2020)

FIVE REASONS THIS COULD BE GOOD – DEATH ON THE NILE (2020)

Directed by: Kenneth Branagh

Produced by: Kenneth Branagh, Judy Hofflund, Simon Kinberg, Ridley Scott, Mark Gordon, Kevin J. Walsh

Screenplay by: Michael Green

Based on: Death on the Nile by Agatha Christie

Cast: Tom Bateman, Annette Bening, Kenneth Branagh, Russell Brand, Ali Fazal, Dawn French, Gal Gadot, Armie Hammer, Rose Leslie, Emma Mackey, Sophie Okonedo, Jennifer Saunders, Letitia Wright

UK Release Date: 23/10/2020



The cinemas are now open again and while the reason for their closure was understandable, it’s great to look forward to seeing some of the more grand and expensive films on the giant screen. I have very much made the most of watching loads of films and television programmes at home via streaming and digital channels, yet it was a pleasure to be back at the cinema this weekend watching TENET (2020). Kenneth Branagh features heavily in Christopher Nolan’s latest high concept brain-twister. Moreover, he also has an updated version of DEATH ON THE NILE (2020) being released soon. Thus, as I’m such a sucker for these old-fashioned murder mysteries I thought I’d give five reasons why it could be good.


CAST

Following the box office success of MURDER ON THE ORIENT EXPRESS (2017), it comes as no surprise there is a sequel to the classy Hercule Poirot train-set murder mystery. Once again Kenneth Branagh directs and stars as the Belgian detective and he has also assembled a wonderful cast of A-listers and solid character actors within the ensemble. I’m especially pleased to see Annette Bening lend some gravitas to the glamour and whether GAME OF THRONES’ Rose Leslie can break out into bigger film roles. Gal Gadot and Letitia Wright leave behind recent comic book films for an altogether more period setting. Lastly, who doesn’t want to see French and Saunders reunited on screen.


NOSTALGIA & FAMILIARITY

I have always loved Agatha Christie’s work be it in literary, radio, television or film mediums. DEATH ON THE NILE (2020) is a favourite of mine, especially as the 1978 version was the first Christie adaptation I saw at the cinema. I must have seen that particular film about twenty times over the years. So much so I know the plot backwards. I guess the nostalgia for watching a film as a child and familiarity with the story create a kind of comfort film. Thus, another positive reason why I am looking forward to the new adaptation is how they recreate a familiar classic.


LOCATIONS

As I established in a recent film review, I for one have a massive fear of flying. Thus, watching films set in exotic locations can be a way for me to experience vicariously places I would not normally visit. Seeing as the film is set on a boat travelling up the Nile, there is no doubt there will be some incredible sights to see while Poirot tries to solve a devilishly complex crime.


MYSTERY

Agatha Christie truly knows how to create a masterful detective plot. In fact, she was a genius. What we now consider to be a cliched genre, the “whodunnit”, was practically invented and reinvented by Christie and this story has a particularly brilliant plot and ending. While the genre is familiar, I enjoy watching all the players in one location conflicting with each other. Of course, Poirot is an eccentric and brilliant detective, so even though I know he will solve the crime and how, paradoxically I still love the mystery of it all.


TRAILER

I have now watched the trailer a few times and it shone on the big screen at the weekend. It also does a great job of establishing the cast, characters and setting without giving away any of the plot. The Depeche Mode track really resonates with the grand voiceover, building to a crescendo where we get to meet Kenneth Branagh as the inimitable Poirot. Anyway, here it is!


VANITY FAIR (2018) – ITV DRAMA REVIEW

VANITY FAIR (2018) – ITV DRAMA REVIEW

Created and written by: Gwyneth Hughes

Based on: Vanity Fair by William Makepeace Thackeray

Executive producer(s): Damien Timmer, Tom Mullens, Gwyneth Hughes, James Strong

Directed by: James Strong

Starring: Olivia Cooke, Claudia Jessie, Tom Bateman, Johnny Flynn, Charlie Rowe, Simon Russell Beale, Anthony Head, Martin Clunes, Frances de la Tour, Michael Palin

Composer(s): Isobel Waller-Bridge

Distributor: ITV, Amazon Studios

**MAY CONTAIN SPOILERS**

It’s an interesting anomaly in my later years that having previously boycotted period dramas which illustrate the lives of the wealthy and privileged, I now find myself being less partisan and actually watching more. This change doesn’t derive from a mellowing of my socialist working class roots but more an intelligent inquisitiveness as ignorant dismissal of the genre, be they on television or film, means one is possibly missing out on some fine drama or comedy. Indeed, many historical periods’ works of literature or theatre are in fact satirising or damning the upper classes.

Dickens for example dealt with the lower, middle and upper classes, shining a critical light at the many degradations of the era. Likewise, William Makepeace Thackeray also critiqued the folly of war, greed and narcissistic pursuits of the privileged. Stanley Kubrick demonstrated this brilliantly in his classic adaptation of Barry Lyndon (1975); while in ITV’s most recent adaptation Vanity Fair (2018), Thackeray’s adroit study of ambition and upward mobility shows the strengths, weaknesses and foibles of the women and men at the time of the Napoleonic wars.

Vanity Fair is widely considered a classic and considered the founder of the Victorian domestic drama. Originally serialised between 1847 and 1848 it was at the time a massive hit and one could argue the equivalent of what we would call a soap opera today. There have been, since the novel’s release, a plethora of screen, radio and television adaptations. Did we need another one? Probably not; but over seven compelling episodes Gwyneth Hughes’ screenplay does great justice to bring to life an army of: well-to-dos, country lords and ladies, soldiers, clergy, businessmen, plus the sparkling scheming of anti-heroine Rebecca or Becky Sharp.

Indeed, the effervescent, nuanced and outstanding performance of Olivia Cooke as Becky drives the narrative forward with absolute purpose. Cooke owns every scene as Becky attempts, from lowly beginnings, to rise through the ranks of society. It is both her strength of character and confidence which is her biggest asset and greatest enemy, because, always pushing for more, she doesn’t quit when she’s ahead. In stark reflection to Becky, Claudia Jessie as Amelia, is characterised as a romantic and desirous not of wealth or position, but rather love and romance. She is a pure spirit and her personality contrasts perfectly with Becky’s. While we admire Becky’s ambitious drive we remain suspicious of her motives, yet Amelia we warm to due to her big and gracious heart.

The men in the piece are a mixture of romantics, noble soldiers, treacherous or haphazard patriarchs, foppish fools, gamblers or all of the above. Tom Bateman gives a solid performance as Rawdon Crawley, Becky’s gambling military husband, as does Charlie Rowe as the more conflicted romantic, George Osborne. Furthermore, the adaptation contains sterling support from the cream of English character acting royalty including: Martin Clunes, Frances De La Tour, Claire Skinner, Anthony Head and Simon Russell Beale to name a few. However, the standout performance for me was Johnny Flynn as William Dobbin. This is such an empathetic and selfless character that, while holding a torch for Amelia, was prepared to sacrifice his love to make everyone happy. Potentially seen as a weakness, this for me was a real strength in a story which was full of selfish narcissists out for what they could get.

Aside from slightly dodgy green-screen CGI for the later scenes in India this was beautifully shot and lit, with the vistas of the English and French countryside wonderfully rendered. The interiors were eloquently designed as the stately and city homes of the characters, likewise the colourful costumes, were expertly brought to life.  James Strong is a prolific television director and he gets brilliant performances and marshals the pace and machinations of the narrative precisely. With Olivia Cooke and Johnny Flynn delivering star turns in their roles I was consistently surprised by this adaptation of Thackeray’s masterpiece. Ultimately, I’ve learned that whether something is a period drama or not one must give it a chance as it could have qualities which continue to stand the test of time.

Mark: 8.5 out of 11