Death on the Nile (soundtrack)
Score composed remotely during the COVID-19 lockdown.
Death on the Nile (Original Motion Picture Soundtrack) is the film score for the 2022 film of the same name, directed by Kenneth Branagh and based on Agatha Christie's 1937 novel. It serves as the second installment in the Hercule Poirot film series and a sequel to Murder on the Orient Express (2017). Composed by Patrick Doyle, the score was recorded remotely during the COVID-19 pandemic lockdown and released through Hollywood Records on February 11, 2022.
Quick Facts
- Artist
- Patrick Doyle
- Released
- February 11, 2022
- Recorded
- 2019–2021
- Genre
- Film score
- Length
- 64:27
- Label
- Hollywood Records
Facts from the source article.
Track listing
| No. | Title | Length |
|---|---|---|
| 1 | The Trenches | 1:30 |
| 2 | What About This? | 1:38 |
| 3 | The Pyramids | 2:28 |
| 4 | Bourgeois Nightmare | 2:00 |
| 5 | The Newly Weds | 1:31 |
| 6 | She's Back | 2:04 |
| 7 | A Single Bullet | 1:38 |
| 8 | Immortal Longings | 1:11 |
| 9 | Abu Simbel | 3:07 |
| 10 | Come with Me | 3:28 |
| 11 | Suspects | 2:00 |
| 12 | One Last Cork | 2:27 |
| 13 | Goodnight Jacks | 3:40 |
| 14 | Alibi | 2:24 |
| 15 | Someone Is Dead | 1:37 |
| 16 | Inheritance | 2:49 |
| 17 | You Killed Them | 3:39 |
| 18 | Let Poirot Work | 1:04 |
| 19 | One Final Interview | 3:13 |
| 20 | Was Someone Hurt? | 3:03 |
| 21 | I Wasn't Thinking | 4:53 |
| 22 | I Needed Him | 2:39 |
| 23 | Perhaps | 3:16 |
| 24 | The Cost of Love | 2:14 |
| 25 | Death on the Nile | 4:54 |
| Total length | 64:27 | |
Track listing from the source article.
Background
Patrick Doyle, a frequent collaborator of Kenneth Branagh, announced his involvement in Death on the Nile in January 2019. Due to the COVID-19 pandemic lockdown, which began before Branagh had presented a cut to the studio, Doyle wrote the music remotely at his home with Branagh supervising through video conferencing. The score incorporates Egyptian influences, 1930s big band jazz, orchestral flavors, and subtle traditional instruments.
Reception
Jonathan Broxton of Movie Music UK described the score as a success, highlighting Doyle's lush orchestral tones, moments of eerie mystery, period textures, and subtle middle-eastern instrumental touches that evoke the Egyptian setting, culminating in a magnificent and emotional finale. Filmtracks noted that while the album occasionally drags, it retains narrative strength and offers enough Doyle lyricism to recommend, with engaging main and romance themes. Pete Hammond of Deadline Hollywood stated the music meets Doyle's usual standards. Clarence Moye of Awards Daily called it a lovely score, and Emily Zemler of The Observer referred to it as a foreboding score.
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