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-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