o This section aims to provide a review oi every film to be seen in central Scotland over the next lortnlght. For programme times see individual cinema listings.

ll - Universal, suitable for all ages.

PG - Parental Guidance suggested as some scenes may be unsuitable for younger children.

ts-No-oneunderthe age oils admitted.

18 - No«one under the age oi 18 admitted.

0 After Hours (15) a (Martin Scorsese, US, 1985) Griffin Dunne, Rosanna Arquette, Verna Bloom. 97 mins. See Panel. Edinburgh;


0 At The Circus (U) (Edward Buzzell, US, 1939) Groucho, Harpo, Chico, Margaret Bumont. 87 mins. The Marx Brothers save a circus from bankruptcy. Later, less vibrant Marxian comedy finds them embalmed in a big-budget MGM extravaganza. Glasgow; Grosvenor O Bambi (U) (David Hand, US, 1942) 72 mins. The simple story of a young forest deer. Distinguished by its scrupulous attention to detail and craftsmanship, Bambi has lost none of its capacity to charm and enthral. Edinburgh; Dominion. Glasgow; ABC Clarkston Road, Cinema, Grosveno-, Rio. Lothian; ABC, Regal. Strathclyde; ABC Greenock, ABC Kilmarnock, Kelbume, La Scala, Odeon Ayr, Odeon Hamilton, Rialto

0 Caravaggio (18) (Derek Jarman, UK, 1986) Nigel Terry, Sean Bean. 93 mins. Thankfully not another highbrow biopic but a film which, in its visual artistry and impish sense of fun, remains very much Jarman’s own.

Caravaggio is the product of a rich painterly sensibility, constructing an ecstatic Chiaroscuro landscape and meditating upon the transient beauties of form and movement that often go unnoticed. A work of careful but not embalming refinement. Edinburgh; Filmhouse 0 Cartoon Spool Hollywood (Various directors, US, 1939—65) 85 mins. Vintage satirical animation from some of the most wonderfully deranged minds ever to grace the silver screen. Glasgow; GET

0 A Chorus Line (PG) (Richard

Douglas. Alyson Reed 118 mins. Lavish, splashy, showbizzy drama-musical; 42nd Street meets Freud as played by the Kids from Fame. Competent entertainment.

not more.G1as ow,GFT O Clockwise (P ) (Christopher

Morahan. UK, 1985) John Cleesc. Alison Steadman, Penelope Wilton. 97 mins. A pathologically punctilious headmaster is chronically tardy for an important

Attenborougili US. 1985) archael


conference. Basically a one-joke farce this is an enervated vehicle for Cleese‘s incisive comic timing Glasgow; GET

0 Cobra ( 18) (George Pan Cosmatos, US. 1986) Sylvester Stallone. Brigitte Nielsen. 87 mins. Stallone and Rambo-director Cosmatos dish up a Dirty Harry for the Reagan era with a no-bullshit cop determined to combat the crime wave by blowing the scum off the streets.

Edinburgh; ABC. Dominion. Glasgow: ABC Clarkston Road. ABC Sauchiehall Street. Cinema, Grosvenor. Rio. Lothian; ABC. Regal. Strathclyde; ABC Greenock. ABC Kilmarnock. Kelburne. La Scala. Odeon Ayr. Odeon Hamilton. Rialto

C Colonel Redl ( 15) (Istvan Szabo. Hungary-West Germany-Austria. 1984) Klaus Maria Brandauer. Hans-Christian Blech. Jan Jiklas. 149 mins. The head of Military Intelligence in the Austro-Hungarian Empire. Redl has denied his roots. betrayed his friends


Over the years Martin Scorsese has proved himself perhaps the most talented oi all the movie brat generation of film directors. His twenty years as a film maker have produced a unique body of work; dazzling in its grasp of cinematic

essentials and impressive in its skilfui I:

l s

and thematically consistent examination of the underbelly of the American Dream. Scorsesds cinema landscape is the mean streets of urban America, populated by a creed of social misfits intensely pursuing their idealised visions of celebrity, status and hopeful salvation.

His latest film, Alter Hours; a gleefully hyperactive black comedy, appears in Scotland this month, re- opening Edinburgh’s Cameo on August 18 and commencing at the Glasgow Film Theatre on August 31. To herald its arrival the GET is mounting a short season concentrating on the director‘s collaboration with Robert DeNlro.

They first worked together in 1973 on Mean Streets and were subsequently reunited on Taxi Driver (August 23) a brilliantly moody vision of a hell on earth with De Niro in daunting form as a crazed cabbie, sickened by society’s failure to live up to his standards, but apparently able to cleanse his hatred and revulsion in a catharsis ol mindnumbing violence. DeNiro’s presence lent an unsettling edge to Scorsese's stylised revision of the classic 1950s Hollywood musical New York, New York (August 27) which will be shown in a fully restored version, and their partnership reached an apotheosls with his Oscar winning performance as a self- destructive, prize fighter Jake La Motta in Raging Bull (August 18) a superb, full-frontal engagement with the evils of self-disgust, male machlsmo and fame.

The drive for fame featured again in the desperately undervalued King of Comedy (August 23) with DeNlro’s

52 The List 8 - 21 August

appalling would-be comic Rupert Pupkin accepting no barriers in his need to be recognised by the public as a primetime star. In this instance DeNiro is perfectly matched by Jerry Lewis in a rigorously disciplined performance as the Johnny Carson- styie host who represents the road to the heart of the nation.

After Hours stars Griffin Dunne as a mild-mannered word processor who spends an unforgettany nightmarish night on the town as a chance date leads to an unmitigated catalogue of disasters. A mordantly comic exploitation of urban paranoia it once again underlines Scorsese’s energy, invention and versatility. He has recently completed The Colour of Money, a sequel to The Hustler in

which Paul Newman returns to his

celebrated role as Fast Eddie Felson.

Tom Cruise co-stars and it sounds

distinctly promising. Meanwhile catch up on Scorsese’s past at the GET, his

films deserve to be seen and savoured, again and again. (Allan Hunter).

and repressed his homosexuality in his rise to the top.

Meticulous storytelling is topped by Brandauer‘s performance, a discreet tour de force that acknowledges the self-deceit of a man driven to destruction. Glasgow;


0 The Color Purple (15) (Steven Spielberg. US. 1985) Whoopi Goldberg, Danny Glover, Margaret Avery. 152 mins. Spielberg turns serious. transforming Alice Walker’s Pulitzer Prize winning novel, a milestone of Black American Feminist fiction, into what comes across as a Black American Feminist David Lean-style epic. Whoopie Goldberg is unutterably splendid Edinburgh; ABC. Glasgow; ABC (Sauchiehall Street)

0 Down and Out in Beverly Hills (15) (Paul Mazursky. US, 1986) Nick Nolte, Richard Dreyfuss, Bette Midler. 103 mins. Sugar-coated, reactionary update of Boudu Sauvé des Eaux. A glib, crass. class-divide comedy where the humour is very American and overly reliant on slapstick and cute dogs.

Edinburgh; Dominion. Glasgow; Grosvenor, Odeon

o The Exorcist ( 18) (William Friedkin, US, 1973) Ellen Burstyn, Max von Sydow. Linda Blair. 121 mins. Genuinely scary version of the William Peter Blatty bestseller given chilling conviction by a talented cast. Edinburgh; Cinema

0 Exorcist 2: The Heretic (18) (John Boorman, US. 1977) Richart Burton. Louise Fletcher, Linda Blair. 110 mins. Preposterous, unnecessary sequel to the above. Edinburgh; Cinema

0 Fletch (PG) (Michael Ritchie, US, 1985) Chevy Chase, Dana Wheeler-Nicholson, Tim Matheson. 98 mins. Chase finds a suitable character for his comic style as a smarmy wisecracking reporter forever sporting outlandish disguises Glasgow: (EFT

o Hallowe’en 3: The Season of the Witch ( 15) (Tommy Lee Wallace, US, 1983) Tom Atkins, Dan O‘Herlihy. 98 mins. A mad Irish genius (is there such a thing?) for reasons best known to himself plans to wreak havoc on Hallowe’en night. Enjoyable daffy horror farce. Glasgow; Grosvenor

0 Hannah And Her Sisters (15) (Woody Allen. US, 1986) Woody Allen. Mia Farrow, Michael Caine, Barbara Hershey, Dianne Wiest.

107 mins. Allen, in mellow mood, provides the flipside of Interiors with this celebration of the cohesion and unity inherent in family ties. Big sister Hannah is the emotional rock of Gibraltar for the various affairs, broken hearts and neuroses besetting her nearest and dearest. Beautifully timed with a precision grace, the resulting work is a terrifically acted maypole of insight and wit with Allen‘s most encouraging report yet on love and death. An absolute must. Edinburgh; Odeon. Glasgow;


0 Heavy Metal (15) (Gerald Potterton, Canada, 1981) Voices- John Candy, Harold Ramis, Jon Vernon. 90 mins. Episodic and