Word: companion
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Dates: during 1970-1979
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...American lawyer trying to cover up the fact that he has been embezzling the heiress's money, and balance with one English lawyer keeping his eye on the American lawyer. Throw in an aging writer of, ahem, "romantic novels and her daughter, a Washington socialite and her servant-companion, a Marxist, a Viennese doctor of dubious integrity, and the heiress's maidservant, all of whom wanted the victim dead, and you have the basic recipe for another of the seemingly endless series of Christie whodunits. The only thing that seems to differentiate a good Christie mystery movie from...
Meanwhile, the socialite (Bette Davis) and her bitchy companion (Maggie Smith) have set out for the same cruise, as have the novelist Salome Ottoban and her daughter. When Linnet's cheating lawyer (George Kennedy) hears of her marriage, his shady schemes are jeopardized and he sets off for Egypt to protect himself. Ridgeway's English lawyers are watching him, and they dispatch David Niven to the scene. Simultaneously, the Viennese doctor is trying to persuade Ridgeway not to go on trying to ruin his clinic, which has caused her friend to die, and the Marxist and Poirot...
...only a spark to explode. It soon gets one, as Mia Farrow shows up again and boards the cruise. One night in the saloon she shoots her ex-lover in the leg, dropping the gun on the floor in panic. The doctor leads Fiance away, while the socialite's companion (a nurse) looks after Mia. When the Marxist goes for the gun, it's missing. Next morning, Ridgeway is found shot, with a J drawn in blood on the wall next to her. But it can't be Jackie, who was in sight of the nurse all night. Elimination time...
...Along the Red Ledge, for all its innovative passages and solid instrumental work, is a puzzling piece of music. It has almost everything, from a harmless love song called "August Day," written by Sara Allen (the subject of "Sara Smile" and a constant Hall and Oates companion and contributor), to a poor attempt at a Phil Spector rocker, called "The Last Time." There's a great orchestral work in "I Don't Wanna Lose You," a fine tune which may do well as a pop single; but the range and uneveness of the album as a whole make it almost...
...album's end. The sound, accordingly, becomes more electronic; the musicians, it seems, were chosen for their talents in that direction. But the following song, a version of "Fame," is loose, funky and better than the original, even if it does take four guys to fake "TVC-15," a companion song from the album Station to Station that has Bowie growling lyrics about his favorite android...