While it may be bushier and bolder than what Agatha Christie considered in her own written works, I daresay what Kenneth Branagh achieved in this addition to the original tale is emotionally satisfying. There was a series of strings, and rulers, and everything, that were put all over my face every time the mustache went on that were absolutely Poirot-ian in their fastidiousness.
The tip of the mustache had to be this many inches from the ear lobe, this many inches up from the chin-line, this close to the nose. Lest you think Kenneth Branagh’s mustache is less “fastidious” than that of Suchet or even John Malkovich, who also occupied the role for TV, the director of Murder on the Orient Express and Death on the Nile did say the Hercule Poirot facial hair takes a lot of time to get right.
He grew a mustache he concealed his scars he became a great detective of some fame. Afterward, Poirot did not return home to live a quiet life as a farmer. As the twisted murder plot unfolds, we learn from Poirot that the love of his life, the woman who stood by him after his face was rent apart, died trying to see him while he was still recuperating in the hospital at Christmas.
Of course, this version of the famous Belgian detective may not be exactly the same as other versions, but one thing Hercule Poirot always is is a bachelor, and Death On the Nile does not change those beats. It is there to conceal more than anything else. This Hercule Poirot still has a memorable mustache, and perhaps even a great one, but in Death in the Nile this Poirot is less vain about that mustache.
This version of Poirot seems to have take that note and run with it.
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