Word: snaked
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...nine years, Robinson and Pacific Northwest, a consortium of four private power firms, have been seeking approval to build a $257 million, 670-ft.-high dam at Mountain Sheep in the middle reaches of the Snake River astride the Oregon-Idaho border. Competing with Pacific Northwest was the Washington Public Power Supply System, a group of 16 public utilities, which offered to build a comparable dam at Mountain Sheep or an even bigger one (800 ft. high and costing $369 million) farther north at Nez Perce. And bucking both was Interior Secretary Stewart Udall, who wanted the Federal Government...
Actually, it was not that clear-cut a victory. Though the case was the biggest public-v. private-power dispute since the private Idaho Power Co. won the right to build three dams on the Hell's Canyon stretch of the Snake River ten years ago, there were complicating factors, as the FPC, painstakingly pointed out in its three-part decision...
Ultimately, the High Mountain Sheep Dam will minimize flooding along the Snake and will generate 2,000,000 kw. in a booming region whose power needs are growing by 15% a year. Washington public power spokesmen, plainly miffed, claimed that their huge Nez Perce project would generate 3,200,000 kw., and would tame the flood-prone Salmon River as well as the Snake...
Died. Gerald de Bary, 37, Swiss-born director (since 1955) of the Salt Lake City zoo; 30 hours after being bitten by an African puff adder, one of the world's deadliest snakes; in Salt Lake City. Suffering from a bad case of flu, Bary was about to clean the adder's cage when he felt dizzy, thrust an arm through the open door, attempting to steady himself-whereupon the adder struck. Said De Bary, shortly before he died: "Don't blame the snake. He was only protecting himself...
...much of a story. What's more, it is told with a slowness slowed still further by memories in the form of flashbacks. But slow is not dull. Slow in this film is fascinating, as a big slow snake is fascinating. Slow is the director's way of giving the spectator time to experience the story as life is experienced: moment by moment and yet somehow also as a simultaneous entirety. At 32, Olmi is a master of his complex craft, but he wisely uses his art to conceal his art and to reveal what he means...