One of the most agreeable aspects of (Aug 15). Wthh concerns an arranged Edinburgh’s programming is that it also marriage during the i940'5 between a ﬁnds room for the afﬂuent, mainstream t“"3383 girl and all eight Year Old b0!- of the American cinema without a hint 1“ mem "mes Edinburgh has become of intellectual snobbishness, and a home'fmm'home for IPchCNdem director Hickey is a firm believer in Japanese Cinemav and oriental “Pen attracting as wide an audience as TOW Rayns recommends N30“) possible. Thus, the Film Festival can Yammwa's "'3 N“ Homing 0' Billy host the premiere of Ron Howard’s "‘3 Kid (Aug 20), 3" Utterly .
:e' .- extraordinary sounding fantasy, set in a ‘ time-warp saloon where Billy the Kid meets samurai Mijamoto Musashi, compound man Marx-Engels, lovely spy Sharlotte Rampling, and desperado Hurry Carahan! Other Japanese ﬁlms of interest include Tatsuya Ota’s REM (Aug 12) a super-8 sci-fr extravaganza about a marauding female android, and Sogo Ishii’s 1l2 Mensch (Aug 21) a devastating film about the devastating German band Einsturzende Neubaten, both of which demonstrate two young directors’ work of vicious originality.
The Philippines Cinema is the subject of a special spotlight with a look at both its past, with a screening of 1950’s Genghis Kahn (Aug 11) as part of a tribute to Manuel Conde, a sort of Filippino Errol Flynn, Preston Sturges and Roger Corman rolled into one, and its present, with an opportunity to sample the work of Raymond Red a 21 year-old working in Super-8 whose four shorts produce images of quite unexpected and inordinate beauty. Linked to these showings is a more
Downhy u comic account of Sino-American industrial relations, Dung Ho (Aug 19), Alan Aida’s new comedy Sweet Liberty (Aug 18), reminiscent of Truffault‘s Day For Night in its humorous treatment of the movie-making process, and the latest from the excellent John Hughes, currently one of Hollywood’s hottest properties after Pretty In Pink, entitled Ferris Bueller’s Day Oti (Aug 17), with Matthew Broderick as a teenager determined to escape from school for a day of ecstatic truancy.
Looking further afield Edinburgh continues to highlight the often neglected riches of Far Eastern cinema. This year Hong Kong’s foremost director/star Jackie Chan comes in for special attention. Chan movies on view include Project A (Aug 16) and The Dead and the Deadly (Aug 17). Last year‘s Festival offering from China, Chen Kaige’s Yellow Earth went on to win the 1985 BFI Award, and the currentseiection features another two highly-regarded Chinese films Sacnﬂced Youth (Aug 13), in which a young girl grows to appreciate the country way of life under a compulsory rural programme during the Cultural Revolution, and A Girl of Good Friday
Alpine re wide-ranging view of Third World Cinema in a special three—day conference organised in association with the British Film Institute. Film- makers (including Cuba’s Thomas
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, Bernard Vorhaus, whose working
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better director than I was as well. I think it‘s wonderful that a whole body of work can be rediscovered and presented like this.‘ Edinburgh’s Vorhaus screenings, in collaboration with the National Film Archive, will include Crime On The Hill (1935) (Aug 16), So Young, 80 Bad (1950) (Aug 17) and Dusty Ermine (1936) (Aug 18).
Alea, the American Charles Burnett, and Britain’s Menelik Shabazz), critics, theorists and historians from Latin America, Africa, India, Sri Lanka, and from the Black British and American sectors have been invited to participate in the sessions and related ﬁlms will be screened. The conference 03 of such a standing that it is already ‘ over-subscribed.
Other special events at Edinburgh this year include the world premiere of a new print of Erich Von Stroheim’s masterpiece Greed (Aug 24 and 25), a tale of epic realism set in arid Arizona which was severely hacked by an ! indifferent and uncomprehending i MGM. With a new score by Carl Davis played by a live orchestra the | screenings promise to be an i unforgettable experience. A modest
impossible to do full justice to the wealth of exciting material Edinburgh has to offer, but the Film Festival has always been about the delight of unexpected discoveries and you could do worse than trust to luck that your arbitrary choice will surprise and satisfy. After all, there is some stiff competition to be even selected and not for nothing does Jim spend so much painstaking time and effort over the process. This time Hickey would particularly recommend that you catch Alpine Fire (Aug 16), an austere Swiss film set on a remote Alpine farm and sensitively handling the controversial themes of adolescent sexual awakening and incest.
Further hot tips will appear in the next issue ofTHE LIST, but in the meantime pick up a Film Festival Programme, a handsome 80 pages from Filmhouse and all good newsagents, and see if there’s anything that catches your eye. Booking of a personal and telephonic nature may be undertaken by application to the Fiimhouse, Lothian Road. See you at the movies. (Allen Hunter and Trevor Johnston).
retrospective will also highlight the career of American-born director
career began in the silent era and included spells at Twickenham Studios I in England during the 30‘s and = Republic in Hollywood during the late 40’s, before he fell foul of Senator i Joseph McCarthy’s House of Un- American Activities. Although an obscure and forgotten figure to i contemporary audiences Vorhaus is I still well-remembered by his colleagues. Michael Powell recently told THE LIST's Alien Hunter, ‘I recall i Bernard very well. We were always ’ competing for the same films in the 30’s when I was making quota quickies. In those days he was a much !
Among such a wealth of material it is
Only 18 Performances. 1986 Edinburgh International Festival
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The List 8 — 21 August 19'