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While interviewing for the role of "Wonder Woman", Gal Gadot almost got eliminated. At this time, she was over 32, married and had children, and Hollywood actresses were usually bound by strict requirements for body maintenance, seemingly lacking the muscular sense suitable for playing a heroine, and the director unabashedly showed his dissatisfaction with her. However, Gal Gadot gained 8 kg of muscle mass through intensive training over the next 5 months, which impressed the director and finally succeeded in winning the role.
Although Gale won the beauty pageant early, her acting peak came late. In 2004, 18-year-old Gal Gadot won the Miss Israel crown, but in the Hollywood environment, she lacked a chance to break through. Even after appearing in three "Fast and Furious" movies, her popularity is still tepid. However, the wheel of fortune spins to "Wonder Woman".
This role made her an instant hit, and her salary soared from $300,000 to $10 million, quickly becoming a member of the "20 million club". However, after this, she gradually became the "queen of bad movies", and although the big-budget movies she starred in were well-made, the plots always disappointed the audience. In 2022, "Tragedy on the Nile" starring her was released, but it was criticized by the audience and criticized as an "old woman".
From the beginning of casting, you can see its difference from the original. Ken's Poirot is more like a handsome detective, far from the original image. The pace of the story has also become the object of criticism, with nearly half of the time spent introducing characters and environments, resulting in a protracted plot.
More importantly, the film has serious problems with the character and reasoning process. Poirot becomes an emotionally entangled, irritable and irritable character, and the reasoning process is almost reduced to line elaboration, losing the brilliance of the original book.
In the movie, the role of the rich woman played by Gal Gadot is also controversial. Although she is beautiful, it does not match the original image. This made the audience incredibly accept her role in the story.
In short, "Massacre on the Nile" is full of adaptations and innovative attempts, however, in many ways it has failed to achieve the desired results. Whether it is character positioning, plot rhythm or reasoning process, it has caused dissatisfaction among the audience. This film may show the challenges and dilemmas that commercial films in the new era face while trying to innovate.
First of all, the issue of casting cannot be ignored. Director Kenneth Branagh obviously tried to innovate in the character, but in the case of a far cry from the original image, it was difficult for the audience to really empathize with the character. In particular, Poirot's character, originally a gray-haired old man, was turned into a handsome detective, and this drastic change made the film lose the support of some loyal fans of the original work.
Secondly, the film's pacing problem caused the first half to be too lengthy. Nearly half of the time is spent introducing characters and environments, making the whole story slow to progress. Audiences may feel tired while waiting for the main topic to be revealed, and the tension characteristic of this reasoning film is difficult to create effectively in such circumstances.
At the same time, the film tries to incorporate the popular elements of diversity, including people of color, LGBT and interracial love. Although these elements are important in reality, the inclusion in the film seems somewhat reluctant and far-fetched. The film seems to try to cater to the aesthetic trends of the audience, but fails to integrate into the story itself, but instead makes the audience feel unnatural.
On the whole, Kenneth Branagh's "Massacre on the Nile" faces multiple problems such as character positioning, rhythm grasp, plot reasoning and the integration of multiple elements in its attempts to adapt and innovate. These issues are intertwined, and the film does not achieve the expected high standard. This also reminds film and television creators that when adapting famous works, they need to reasonably innovate and develop on the basis of retaining the spirit of the original work.
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