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About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (Oct. 12, 1978)
a'v\! ->»< .—1xk-vir FOOTNOTES yK ,' MK TMIC AVAILABLE TO THESE CLASSES Anth 101 Anth 103 Arh 202 Arh 204 Bio 101 Bio 301 Bio 304 Chem 101 Chem 104-G Chem 104-R Chem 331 Econ 201-C Econ 201-W Econ 202 Econ 375 Rn 332 Geog 101 Geog 206 Geol 101 He 250 Mkt 311 Ph 201 Psy 201 Psy 214 Psy 215 Psy 216 Psy 388 Soc 201-G Soc 201-M Soc 201-J Soc 216 Urp 350 P Simonds R. Chaney Simmons Stem Grant Morris Stahl Acheson Griffith Reithei Dolby Campbell Whitelaw Grove Goldstein Culmus Loy - Sear! Rohr Peiffer Hawkins Matthews Hyman Goldberg Pein Se crest Kimble Gale Milton Johnson Keddem Gale Footnotes available in Room 15 EMU at 50c MWF classes and 75c UH classes or discount full term rate of $7.95 MWF and $6.95 UH. Please purchase your notes early. Prices for most classes will go up after mid-terms. FOOTNOTES a division of Student Projects Inc. Room 15 EMU Room 15 - by the bowling alley. -WW ' "-MM -MM—" '■** Films Death on the Nile Directed by John Guillermin Valley River Twin It was supposed to be the "per fect honeymoon.'" It didn’t turn out that way but it was almost the per fect crime. Almost, but not quite, because sleuth extraordinaire Hercule Poirot was there to figure out who done it. Agatha Christie’s Death on the Nile starts out with millionairess Lynette Ridgeway (Lois Chiles) marrying a pauper. The pauper dumps his fiancee, Jacquelyn (Mia Farrow), to marry the loaded lady. And then the couple takes off for an Egyptian honeymoon, which includes a boat trip down the Nile. That’s about as simple as this convoluted story ever gets. Everyone who ever had any reason to hate, despise, or resent Lynette Ridgeway manages to find their way onto the boat. There’s an aging rich widow (Bette Davis) and her wicked tongued personal companion Bowers (Maggie Smith), who hates the Ridgeway family for ruin ing her father. Also on board is a flamboyant writer of trashy novels (Angela Lansbury), who besides being obsessed with sex and drink, is being sued by Lynette for portraying her as a “nyphomani cal baboon” in a novel. The novelist’s meek daughter (Olivia Hussey) is also along for the ride. Lynette's American lawyer (George Kennedy) is out to get the Ridgeway millions by hook or by crook. And of course there’s the jilted fiancee, Jackie, who’s out to get her revenge. (“If love can’t grow in my heart, evil will do just as well,” she says after following the couple to Egypt.) The boat is packed with these eccentric characters, plus two “good guys” David Niven, playing an English lawyer, and sleuth Poirot. And then the murders start. The plot is excellent. It twists and turns and just when /ou’re r sure that she did it, you discover she couldn't possibfy have done it. But, wait a minute, of course she could have ... if_Christie has again delivered a good murder mystery. The acting is a mix of good and bad — but mostly good. Peter Us tinov does a magnificent job as the omnipresent Poirot. Whether he’s twirling his mustache, or raising an eyebrow and sniffing out clues, Ustinov continues to be intriguing. As the English lawyer out to de fend the Ridgeway monies and as Poirot's sidekick, David Niven is classy (when isn't he?). He is so English it reeks — even on film. Other stand-outs are Bette Davis, who is alternately terrifying and civilized, and her hard-ass companion Maggie Smith, who supplies much of the film’s humor with her barbs and sfTarp tongue. Unfortunately, Lois Chiles as Ridgeway is horrible. Her lines sound stilted and her facial ex pressions appear false. Her hon eymoon hugs look limp and her revengeful tone sounds too re vengeful to be believed. George Kennedy also turns in a disappointing performance and seems stilted throughout. Angela Lansbury makes a con vincing drunk and Olivia Hussey does fine as her meek daughter— but Hussey’s character is so bland it’s hard to commend her for any acting ability. The two-and-a half hour movie alternates between being too sfow and being just right. It never really gets boring. The Egyptian scenery is breath-taking and inspires gasps from the audience; Death on the Nile is a good murder mystery. There’s blood by the towelful, cobras, guns, love, violence, and of course, someone who did do it on board. There’s even a thoughtful last line uttered by Poirot to keep the audience thinking as the credits roll on. Death on the Nile IS a “hazard ous journey in troubled waters” but it’s also great fun to watch. By Ann Treneman 1 wrir APPEARING IN THE JAZZ LOUNGE OPEPO Through October 14 ROBERT CRAY October 15 & 16 EDDIE JEFFERSON & RICHIE COLE October 17 & 18 Eibaiel-fotel - — .*w 222EAST BROADWAY W4-M61 Goin’ South Directed by Jack Nicholson Cinema World/Valley River For those movie goers who like Jack Nicholson’s acting Goin' South, his new film, brings good news. Nicholson dominates the film. For those movie buffs who ap preciate good direction Goin' South brings bad news. Nicholson directs the film. Goin' South is a light-weight Western romantic comedy with a central gimmick. Henry Moon (Nicholson) is condemned to swing from the gallows in a small frontier town that has lost most of its male population in the Civil War. Suffering from loneliness (to be polite), the town’s women have compelled the town fathers to enact an ordinance allowing them to claim any criminal, short of a murderer, for a mate. On his march to the noose, horse thief Moon overhears talk of the ordinance. On the gallows he desperately hawks himself. “You can’t tell a book from its cover,” he tells the ladies. Julia (young newcomer Mary Steenburgen) claims Nicholson. After marriage she puts him to work in her gold-mine. The railroad is out to condemn her land; strik ing gold is her only hope of holding onto it. Julia is a virgin — Moon says he can tell from the whites of her eyes. She is prim, prudish, eccen tric and dreams of a new life in Philadelphia. Her one intention is for Moon to dig for her gold; her virginity and heart are to remain intact. But Moon is a homy, loveable and persistent rascal. He breaks Julia down, they eventually strike gold, and further on down the line they fall in love. In between there is an escape at tempt by Moon, a couple of lover’s quarrels, and confrontations with corrupt officials, the law, and a band of Moon’s old outlaw bud dies and girl friend. Nicholson, whether heaving a bucket of horse piss on a deputy, barbarically eating half a boiled chicken, or tying down the help less Julia on a brass bed and hav ing his way with her, is at his out rageous best here. Nicholson, the cynic looking for the easy way out at first then mak ing moral decisions on the side of true love, is not exactly the Nichol son of “Cuckoo's Nest,” “Five Easy Pieces,” or “Easy Rider.” Which is fine with me; I went to the movie hoping for entertain ment that wasn’t heavy or preten tious. But this film is so light that it starts to evaporate half way through. Scenes play like sketches, the tone changes abruptly between scenes, and there are unex plained gaps. The end, which is supposed to be a heart-warming culmination, instead fades away like a last wisp of vapor. Goin' South is, in a way Easy Rider in reverse. Rider started weakly, gathered strength (when Nicholson appeared on screen) and ended explosively. South starts strongly, becomes diffuse (when Steenburgen goes head to head with Nicholson) and fades away at the final credits. No one but Nicholson shines in this movid; the director (Nichol son) may be to blame for that. Steenburgen is insipid as Julia, and half the time she doesn't seem to know what she’s doing. John Belushi is wasted in a small role, and the other actors are never given a chance to do much more than make faces and role their eyes. Maybe rolling eyes are Nicholson’s idea of comedy. After all, sneers account for most of his acting style. Granted, the sneers work for him. But not much of what he does in directing the other actors or with the script works in South. Going out? Unless you’re a hardcore Nicholson fan, skip Goin' South. By William Kogut THURSDAY & FRIDAY •H you think three layers of rich hot fudge. DAIRY QUEEN* soft serve and Spanish peanuts sounds deliciously extravagant - well, you re right But this Thursday and Friday the price is very, very sensible So hurry to your partici pating DAIRY QUEEN* store during our sale And enjoy OCT. 12 & 13 The -a, Peanut Busier Parfait Sale. Dairij Queen 13th & Hilyard
