consisting of rare footage of the man himself collected together with a fascinating collage of interviews with the men and women who knew him well. Jung comes across as very much a man apart from the rest. with an intuitive understanding of the psyche of patients and colleagues. Edinburgh; F ilmhouse.

O Mephisto(15)(isrvan Szabo. Hungary/W Germany. 1981) Klaus Maria Brandauer, lldiko Bansagi. 144 mins. An outstandingly talented actor bends his knee to the Nazis in order to advance his career. Brandauer gives a towering performance in the role of the thespian rationalising ideological compromise in the face of public adulation, before one deal too many brings about his downfall. Szabo‘s Oscar-winner is a remarkable dissection of the rise of fascism and its seductive appeal to the self-obsessed. Glasgow; GFT

o Mishima: A Lite in Four Chapters (15) (Paul Schrader. US/Japan. 1985) Ken Ogota. 120 mins. Throwing aside the restraints of the conventional bio-pic. Schrader tackles his controversial subject, Japanese novelist Yukio Mishima, through an intriguing inter-weaving of straight biographical narrative, stylised dramatisation of excerpts from his novels (where the protagonists can be seen as substitutes for the author), and documentary reconstruction of his last day when he attempted an abortive military coup and then committed suicide. A virtuso display, buzzing with intelligence and style, held together by Ogota’s quietly impassioned performance the over-ambitious climax doesn’t quite come off, but it still leaves Hollywood pablum far behind. Edinburgh; Filmhouse

0 Monty Python’s Liie oi Brian (15) (Terry Jones. UK, 1979)John Cleese, Terry Gilliam, Michael Palin et al. 93 mins. Irreverent, wonderfully offensive Biblical parable about a man who is not the Messiah just a ‘very naughty boy‘. The Pythons best feature. Glasgow; Grosvenor.

0 Monty Python’s Meaning of Lite (18) (Terry Jones, US, 1983) Eric Idle, Graham Chapman, Michael Palin et al. 90 mins. Uneven Python humour combining songs, sketches and generally ruminations on the human time scale of birth to death. Glasgow; Grosvenor

'0 My Beautiful Laundrette (15) (Stephen Frears, UK, 1985) Gordon Wamecke, Daniel Day-Lewis, 97 mins. Conspiring to turn a rundown business into the ritziest laundrette in town young Asian Omar and his white schoolfriend-lover Johnny encounter all the pressures of Thatcher’s England where the only victors are those left standing at the end of the day.

One of the most original and provocative British films of this year with critical bouquets merited by all involved but especially by writer Hanif Kureishi whose richly textured script stimulates the mind and engages the heart. Edinburgh; Filmhouse. Glasgow; GFT

0 National Lampoon's Animal House (15) (John Landis, US, 1978) John Belushi. Tim Matheson. Donald Sutherland. 109 mins. Influential college comedy featuring the much troubled and appallingly unfunny Belushi in his one major success. This film has a lot to answer for. Glasgow; Grosvenor

o A Nightmare on Elm Street(18) (Wes Craven. US. 1984) John Saxon. Ronce Blakely. Heather Langenkamp. 91 mins. In smalltown America a quartet of teenagers share a terrifying communal dream in which they are terrorised by a long-dead local bogey man. Reality and illusion grow inextricably intertwined when what you dream is exactly what transpires and sleep can literally be murderous. Polished. professional shocker. quite

imaginative but annoyingly illogical. Nightmare on Elm Street 2: Freddy 's Revenge is on the way.

Glasgow: Odeon. Grosvenor. Strathclyde; ABC Greenock. Ayr, Odeon. Lothian; ABC Falkirk.

O 1984(15) (Michael Radford. UK. 1984) John Hurt. Richard Burton. Suzanne Hamilton. 110 mins. Based on Orwell‘s celebrated political parable. Winston Smith is a lonely. paranoid re-writerofhistory at the Ministry ofTruth. who rebels against the state by embarking on a forbidden love affair. Remarkably faithful to the novel, this film adaptation boasts impressive sets and laudable performances from Hurt and Burton as prisoner and interrogator, but fails to imbue the proceedings with any emotional resonance. The result shows that


Veteran Hollywood animator Chuck Jones delighted a capacity audience at the Edinburgh Filmhouse last Monday with a vastly entertaining Guardian lecture.lliustrating his remarks with examples oi his iinest work, he proved a witty, generous and incisive talker.

Born in Washington in 1912, he moved with the family to California during his llrst year and lived nearby the Chaplin studios as a boy. Anyone was eligible lor employment as an extra on the locally lilmed beach scenes, and Jones admitted, ‘I always wanted to be a Keystone Kop, but when I grew up, they didn’t exist any more.’

Claiming that his lather taught him to read at the age ol three to keep him guiet, Jones displayed his appreciation of the literary, citing his love oi Kipling, Stevenson and Mark Twain

Describing himseli as a‘transparent wimp' during adolescence, Jones recalled how he moved into animation from Art college and started as a cell washer. Throughout the evening he never tailed to acknowledge the contributions oi his colleagues and disparage the general ineptitude oi producers he had encountered over the years. For a longtime Jack Warner harboured the illusion that Jones and his team were responsible lor producing Mickey Mouse!

As Jones rummaged through the ‘pertlnent trivia' at his animators mind

the audience ieamed the background


and development oi lavourites like Daily Duck, the Road Bunnerand Bugs Bunny whom he had discerned moving lrom Harpo Marx to Rex Harrison in terms oi personality.

He strongly deprecates the cheapening of his art by some contemporary companies and has always believed in quality control at the hands of people who care. When George Lucas was releasing Star Wars in San Fransisco he insisted that a print of Jones Duck Dodgers in the ZIP/Ah Century be struck to accompany his ieature. Steven Spielberg consulted him at the start oi 1941 and special eliects wizard Douglas Tnimbull has enlisted his advice to explore the capacity oi a revolutionary new screen process he has developed. His appreciation by a whole school of Hollywood's young Turks has been gratilylng ior him.

Modestiy stating that he has been extremely lortunate to earn his living lrom something that he enjoys Jones stressed that his achievements have only been possible through caring lor his characters and ensuring that the quality and integrity of his own work always remained high. From the reception he received in Edinburgh he has more than succeeded and created a legacy of indelible cinema gems that will live long beyond his own mere mortality. (Allan Hunter).

there is a fine line between bleakness and tedium. Glasgow; GET

0 No Man's Land ( 15) (Alain Tanner. Switzerland/France. I985) Hughes Quester. Myriam Mezieres. 110 mins. To be reviewed. Glasgow: GET

0 One Deadly Summer ( 18) (Jean Becker. France. 1983) Isabelle Adjani. 133 mins. In rural France. the town flirt investigates the dark secret of her past and digs up more than she had bargained for. This interminable meoldrama is the sort of thing Bardot might have made 25 years ago. Far too densely plotted for its own good. the weight of the film falls on Isabelle Adjani. who.

: despite taking off her clothes every j five minutes. is still able to engage the attention. Unless you're looking

for some sanitised smut that is. Glasgow; OFF

0 Pale Rider( 15) (Clint Eastwood. US. 1985) Clint Eastwood. Michael

Moriarty.Carrie Snodgress. llo

mins. Back in the saddle for the first time in nine years Clint dispenses rough justice as an avenging angel defending the rights ofa community of prospectors.

A classic western. superbly

photographed and a tribute to

Eastwood‘s multi-faceted talent. Edinburgh; Dominion. Glasgow: ABC Sauchiehall Street.

0 Peter Pan (U) (Wilfred

Jackson. Clyde (ieronomi. Hamilton Luske. US. l952) 76 mins. Typically beguiling Disney magic of the little boy who cannot grow up and three London children who join his adventures in Never Never land. Edinburgh; ()deon. Glasgow; Odeon.

o The Phantom Tollbooth (U) (Chuck Jones. US. 1971) Abe Levitow, David Monahan. 90 mins. A day-dreaming youngster lands himself in an animated world of sounds. letters and music where he meets the likes of the Spelling Bee and Humbug in this feature-length adaptation of the Norman Juster book. Edinburgh; Filmhouse

O Plenty ( 15) (Fred Schepisi, US. 1985) Meryl Streep. Sam Neill. Charles Dance, Sting. 124 mins. To be reviewed. Glasgow; GET

0 Porky’s(18) (Bob Clark, Canada. 1982) Kim Cattrall. Scott Colomby, Nancy Parsons. 94 mins. Lusty high-school guys in 1954 discover that sex is fun and so‘s being a peeping tom. Tedious, supposedly adult fun. Ha, bloody, ha. Glasgow; Grosvenor

o Porky’s 2: The Next Day ( 18) (Bob Clark, Canada, 1983) Dan

; Monahan, Wyatt Knight. Mark

' Herrier. 98 mins. More ofthe same,

perhaps just a shade inferior. Glasgow; Grosvenor.

0 Public Enemy (PG) (William Wellman, US, 1931) James Cagney, Jean Harlow, Joan Blondell, Mae Clarke. 84 mins. Dated but still

. electrifying account ofa mobster‘s

rise and fall. Peppered with classic momentsthisisthefilmthatput

(‘agney on the map and forced Mac Clarke forever more to insist on a contract that forbade the presence of grapefruits on the films she made. Glasgow; Grosvenor

The List 15—28 November 27