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Homea ^m w?* " fcvem 'Dec By David 1 Oamtcock Fll? The most pojf adaptation of Agj Murder on the Oiien a beautiful bore. Ita to quarantine no suspects, none of v guilty and all of who aboard a snowbou with Belgain sleuth badgering them wi tless questions relationship with party. Even with Sidney j helm and the hottei (Jacqueline Bis Bergman, Sean Con Widmark, Michael1 front of the camera proved to be was a < for insomnia. ??*t IUi.1 ^ 11#. wnai mue tixe possess came from as the talkative mat the murder weapon last half of the movi everyone else knev fortune. Death on the Nile, version of Christie's its similarities to tfc # I. t Iares inucn oeuei costumes and beaut sets are still th? somewhat over-th cast. The charactei deeply drawn than film, and like Mm filled with an e nostalgic affectatio There are, howe portant difference twn films dl 3ming f estivit / , L"f song... weather to ith on t laker make the newer f n critic palatable, Wherea >ular screen only to tell a story, atha Christie, produced as more t Express, was Christie. Also, Un > |iivi maiiagcu uausirupuuuui iuu less than 12 by John Guillern /hom could be tourism. >m were guilty, nd locomotive GUILLEBM1N Hercule Poirot really been cnthi ith often poin- African locatioi about their resembles nothing the deceased as an Egyptian tri that has angered film's critics. That Lumet at the take* * 4*?* seaf it cast of J9N - however, is precif et," Ingrid the film its air of inery, Richard JTork, et al) in Where Murder s, all the film Express kept the a cinematic cure various train < Death on the Nil the film did place on board tl Lauren Bacall Karnak, takes it! aron who found outside as well as I and spent the le sure Guillermin's ca v of her good and about on the t off to the ancient Nile River. The the latest film sphinx, the barn i works, for all even the oases. ie earlier film, mysterious. . The period Placing charac Ifully designed strange locale giv >re, as is a an uneasy feeling e-hill all-star Therefore, whei >s are no more bitchy ingenue i In the previous practically puts a I rder, Death is the air. ibundance of ns. THE DRAMATI ver, some im- on the Nile is i between the elaborate than th< fferepces that on the Orient ies begin I conce %^raSSKKBKC^^S^Sn^^HHi.<-: M |^MM> 11 ' J.1 iffi i Brttt A 0 cold to rock an< 1 f Ik T?1 ne in in ilm much more is Murder tried IMHHHP Death has been ^ an hommaga to net's mock-chic & been replaced MMK lin's free-lance MUST have -ilP1 'ailed with the W& ,|&> W to the scenery, ?ely what gives jj^jj ^ ction confined to pyramids^ and >n ennr! HunAft P acf 4 ? v/uai. vfi are naturally ters in such a Lumet refused es the audience to stray from tl I to begin with, could see the d i Lois Chiles' deduce the ide a murdered, it well before filr kinetic charge in By giving th< pretty scene C riddle in Death Guillermin tat also far more looking for leu i one in Murder murderers arc Exgress. Since you remember irt only Homecoming Green Street . ment so they n< first song, it wai had to he adjust recognizable. On that first s while Paul Rus saved them wat JULIE CAM McVie of Flee imitate. The ba enjoyable. SR?^ raBllK "The Road ai well with a good the intensity of 1 in Browne's ve One of the be Enough." Susa nature. The blu vocals. The second s the slow start d i '7TI j/f disappointed at Jidraw ?OAMBCOCK Evensong's O! i roll first set, a song ? 2 agoc BBS ! .v. ;v:<.Xv.<->.vX<<<!>.-^V<.y.v-.v.y.v.v^^y-* ' : : ' . ' . ? ? ; r^npHv ->' f1 rr frii Death on the Nile*... t to allow your eyes ... you just \ lie train, your eyes nect them, lues well enough to Guillermin iU.. At LIM ? 1 I ilf nuiy ui une Killers tuong oeauiu n'S end. Peter Ustinov portrayal of ! 5 audience so much best performs iry to look at, while Albert tea your mind off Poirot all the es. Thus, when the natural mannc 5 finally identified, penguin, Ustin seeing all the clues traits of Poin > medio By Robert Patterson Oam?cock Staff Wrttor 1978 began Monday night with a dansong, a Columbia band. traffic hindered Um KahH fmm aoh >eded three or four songs to balanc< i obvious that the balance of the insti ed. Their version of "You Make Lovii ong, Joe Taylor's guitar could only h so's bass was non-existent. About I i the strong vocals of Susan Taylor a PBELL'S VOICE is amazingly sii twood Mac, the group Evensong nd fell short of that desired sound _ Jl aa hi u? axy," a jacason Browne num I driving beat even though Susan Taj Browne. Joe Taylor threw in a good i re ion. iter songs of the set was Paul McC a Taylor's voice was at its best on es touch in her voice was really gooc et brought more Fleetwood Mac an lixed reartinn fmm tKu? . ampened the spirits of some of the < the band's mellowness. riginal songs were some of their bi [ written by Julie Campbell was ex See 1 >d mys pl'^^'t^ 1 l^p:' Jjfe-:^^^B^HjBjHHPfc^ >^^-:: x mM^' "^, :'/'', >eautiful scenery adds veren't able to con- comic strenj Smith's bitt 's direction clips! Angela Lam ully in sync with nographic n '8 charming, hearty steal his spot Hercule Poirot, his joce in many years. IN THE < Finney gave his roles, David i looks, timbre and Farrow are irisms of a demented supplying mi iov adapts only those >t that suit his own ere i i I ce on Green Street, ing up their equip5 the sound. On the ruments and vocals ig Fun" was barely e heard on the solos the only thing that nd Julie Campbell. milar to Christine definitely tried to but manages to be ber, was done very plor couldn't match [uitar solo that isn't artney's "I've Had rock songs of this 1 for the screaming id Jackson Browne weather along with irowd. Others were itter efforts. In the cellent. Again, Joe Evensong, page 14 tery 11111 f III HWinmtii w^w?^wsw-yv>v ;; ; : ^ ^ r j MHHK > to the story gths. Only Maggie er nursemaid and Bbury's tipsy porovelist threaten to light. i OTHER supporting I Niven and Mia > good, with Niven uch of the film's See Death, page 14 ? ^ *wAZK#yWH/*aheHtMlW'~ "**> fit**' " i