| David Suchet | ... | Hercule Poirot | |
| James Fox | ... | Colonel Race | |
| Emma Griffiths Malin | ... | Jacqueline De Bellefort (as Emma Malin) | |
| JJ Feild | ... | Simon Doyle | |
| Emily Blunt | ... | Linnet Ridgeway | |
| Judy Parfitt | ... | Miss Van Schuyler | |
| Daisy Donovan | ... | Cornelia Robson | |
| Barbara Flynn | ... | Mrs. Allerton | |
| Daniel Lapaine | ... | Tim Allerton | |
| David Soul | ... | Andrew Pennington | |
| Frances de la Tour | ... | Salome Otterbourne (as Frances De La Tour) | |
| Zoe Telford | ... | Rosalie Otterbourne | |
| Alastair Mackenzie | ... | Mr.Ferguson | |
| Steve Pemberton | ... | Dr. Bessner | |
| George Yiasoumi | ... | Cruise Manager | |
| Elodie Kendall | ... | Joanna Southwood | |
| Félicité Du Jeu | ... | Louise Bourget |
| Episode Crew |
Directed by | |||
| Andy Wilson | |||
Writing credits | ||
| Agatha Christie | (novel "Death on the Nile") | |
| Kevin Elyot | (screenplay) | |
Produced by | |||
| Michele Buck | .... | executive producer | |
| Phil Clymer | .... | executive producer | |
| Delia Fine | .... | executive producer | |
| Leila Kirkpatrick | .... | line producer | |
| Fiona McGuire | .... | executive producer | |
| Margaret Mitchell | .... | producer | |
| Emilio Nunez | .... | supervising producer | |
| David Suchet | .... | associate producer | |
| Damien Timmer | .... | executive producer | |
Original Music by | |||
| Christopher Gunning | |||
Cinematography by | |||
| Martin Fuhrer | (director of photography) | ||
Film Editing by | |||
| John Mayes | |||
Casting by | |||
| Maureen Duff | |||
| Gail Stevens | |||
Production Design by | |||
| Michael Pickwoad | |||
Art Direction by | |||
| Malcolm Stone | |||
Makeup Department | |||
| Carli Mather | .... | makeup artist | |
| Sian Turner | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Giles Butler | .... | second assistant director | |
| Robert Fabbri | .... | first assistant director | |
| Jessica Hurles-Laws | .... | third assistant director (as Jessica Hurles) | |
Art Department | |||
| Dougie Lankston | .... | dressing prop/storeman | |
Sound Department | |||
| Tony Jackson | .... | sound recordist | |
| Mike Reardon | .... | boom operator | |
| Charlotte Gray | .... | sound trainee (uncredited) | |
Visual Effects by | |||
| Melissa Butler Adams | .... | digital compositor | |
| Alan Church | .... | visual effects supervision | |
| Adam Gascoyne | .... | effects compositing supervisor | |
| Simon Giles | .... | visual effects supervision | |
| Simon Hughes | .... | digital compositor: CLEAR | |
| David J. Zimmerman | .... | data operator: CLEAR | |
Stunts | |||
| Ray Donn | .... | stunt double: David Suchet | |
Camera and Electrical Department | |||
| Michael Green | .... | focus puller | |
| Phil Penfold | .... | best boy | |
Casting Department | |||
| William Davies | .... | casting assistant | |
| Claire Saunders | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Jason Gill | .... | costume assistant (uncredited) | |
Editorial Department | |||
| Anya Dillon | .... | assistant editor | |
| Simon Giblin | .... | on-line editor | |
| Judd Watts | .... | post-production facilities coordinator: Pepper (as Oly Watts) | |
Other crew | |||
| Emily Chittell | .... | production assistant | |
| Elton Farla | .... | unit medic | |
| Maureen O'Farrell | .... | choreographer | |
| Sami Rafe | .... | location manager: Egypt | |
| Lawrence Stevens | .... | floor runner | |
| Derek Wax | .... | script executive | |
| Series Crew These people are regular crew members. Were they in this episode? |
Sound Department | |||
| Lionel Strutt | .... | adr mixer | |
Costume and Wardrobe Department | |||
| Leonie Barker | .... | wardrobe mistress | |
Other crew | |||
| Mark Albela | .... | location manager | |
| Daren Thomas | .... | location runner | |
| Main series | Episode guide | Full cast and crew |
| Company credits | External reviews | IMDb TV section |
| IMDb Drama section | IMDb UK section | Add this title to MyMovies |
This is one of Christie's most popular mysteries because it works with the "impossible murder." Its also an exotic way to manage the remote country house idea, where you know exactly how many suspects there are and can map their movements within the structure.
If you aren't unhappy with the others in the Suchet series, you won't be unhappy with this. Generally, they've settled the stories into a simple BBC model, with the answer revealed at the end instead of displayed as a puzzle.
This one is worse in that regard, because this story is more of a puzzle than the others. And they go much further in telling you who the villains are even before the story itself begins.
But what'll be interesting to students of film is the way the space is used. Despite the flaws of the 1978 version, it understood that the structure of the space is a part of the puzzle. People coming and going, being seen, being heard. This version and that use the very same boat, but the difference in how things are photographed is radically different.
Its partly a matter of cost. The TeeVee budget could pay for location shots, but when they use the boat, they have to work with the physical limits of where they can put the camera. The 78 version made a studio copy of much of the boat. It had a real cinematographer we're talking "Red Shoes" and African Queen" and knew something about how space constrains emotional vision.
So quite apart from whatever problems you might have with BBC handle of an entire genre, and Suchet's sensibilities, there's this business about space that just might drive you crazy if you know how well it can be done.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.