FILM LIST __
obsession with a girl he doesn‘t even like, particularly her knee. Delightful fol-de-rol. Edinburgh: French Institute
0 The Colour of Pomegranates (U) (Sergei Paradjanov. USSR. 1970) Sofico Chiareli. 73 mins. Ina prologue. eight chapters. and an epilogue. Paradjanm"s unforgettable film chronicles the life of 18th century Armenian poet Sayat Nova (‘King ()fSong‘). linking his work with both the passion ofChrist and the historical sufferings of Armenia.
One ofthe cinema's true originals. this mesmeric experience is a torrent ofvibrant and teeming tableaux. strangely ravishing to the eye. which in their exotic beauty resemble a series of Russian religious paintings brought to life. Quite. quite extraordinary. Edinburgh: EUFS
0 Come Back to the Five-and-Dime, Jimmy Dean, Jimmy Dean ( 18) (Robert Altman. US. 1982). Sandy Dennis. Karen Black. ('her. 111) mins.'1‘he 211th anniversary reunion ofa smalltown 'l'exan James Dean fan club provokes emotional outpourings among a group of friends as they remember things past and contrast the gulfbetween then and now. ()ne ofthe ntore palatable stage-to-screen Altman removals bolstered by some strong performances. Glasgow; GE].
0 Cop au Vin ( 15) ((‘laude Chabrol. France. 1984) Jean Poiret. Stephane Audran. Michel Bouquet. 109 mins. Murder most foul in rural France forms the background incidentals to a superior (‘habrol concoction that homes in on the (iallic Dirty 1 larry character of the investigating officer who brings a sense of stylish unpredictability to a rather plodding tale of provincial skullduggery.
Disdainful. world-weary and resolutely cynical. it isorchestrated with steely panache. Edinburgh EUFS O The Cremator(15)(Jurajllerz. Czechoslovakia. 1968) Rudolph Hrusinsky. Jiri Menzel. 102 mins. A
dedicated crematorium employee
becomes even happier in his work as Fascism gathers momentum and the Final Solution draws near. Sinister tale with some unpleasant details of a horrible obsession. The shift from black humour at the start of the film
Sugarbaby (15) (Percy Adlon, West
Germany, 1985) Marianne Sagebrecht,
Eisi Gulp. 86 mins. Percy Adlon’s idiosyncratic new film opens with a fat lady floating in a swimming pool, an acute image ofthe stasis in which Marianne lives. A chance encounter on a subway platform with a young train driver galvanises the unhappy undertaker's assistant into a single-minded pursuit of the new
object of her affection; she buys herself
Chinese-American community of
to the 3()th century horror story of its latter stages is brilliantly handled. Essential viewing for those who can take it. Edinburgh: Edinburgh Filmhousc
0 Detective(15) (Jean-Luc Godard. France. 1985) Nathalie Baye. Johnny llallyday. 98 mins. A hotel detective named Prospero. an estranged airline pilot's wife. a boxer with the unlikely moniker of'l‘iger Jones. intrigue with the Mafia. i chunks quoted from (‘onrad's Lord Jim: these are just some of the eclectic ingredients in Godard‘s exasperating but devilishly
SUGARBABY
bright new clothes (and sexy lingerie), and replaces her lonely single bed, from which she watched TV and ate compulsivefy, with a double mattress.
After much diligent research of the subway rotas, Marianne tracks down her sugarbaby (from a pop song she remembers from heryouth), Eugen, luring him firstwith a candy bar, then (almost) dinner, then herself. The unlikely couple enjoy an idyllic interlude in their otherwise
San Francisco. An affecting. wistful
study ofemotional and cultural ; conflict. Slight but touching.
Edinburgh; Edinburgh Film Guild
' (ilasgoszrosvenor
pleasurable deconstructing re-run of 5
American pulp film noir. Edinburgh: EUFS 0 Dim Sum (U) (Wayne Wang. US.
; l985)1.aureen Chew. Vietor Wong.
87 mins. Heartwarming tale of family strife in the
o The Element of Crime ( 15) (Lars
Von Trier. Denmark. 1984) Michael ,
Elphick. Esmond Knight. 104 mins. Detective Elphick leaves an investigation into a number ofchild murders in Europe and goes to Cairo. An Egyptian therapist hypnotises him to help him understand what really happened. and he undergoes a perilous journey through the underworld of his own
' monochrome lives, until Eugen’s wife
returns unexpectedly and discovers their affair.
Adlon‘s film is strange, beguiling work, at once warmly appealing and
slightly repellent. Shot in garish colour tinting corresponding to the moods and
shifts of the relationship, and in a relentlessly close focus, it forces us to question our received notions on the
nature of sensuality and desirability,
but in doing so intermittently presents Marianne in particular as a somewhat
absurd figure. These things impinge largely as briefshadows(and portents)
on the lover’s genuinely affecting
relationship, however, although its
post-discovery course is left hanging in an ambiguous final frame. An odd one, this, even by Adlon’s
- quirky standards. Marianne is no new
imagination to discover the shocking ;
truth ofhis own identity.
A visually striking debut by a young Danish director. this is a particularly zesty homage to his cinema heroes. Edinburgh; EUFS
woman: she want to win her man by pampering him, while Eugen is happy to be the recipient of these old-fashioned pleasures. Their relationship beyond the sexual is touchineg innocent, as they exchange fantasies of adolescent dreams now submerged in the reality offuneral
parlour and subway, but strangely rekindled in each other’s arms. Behind the unsettling ambivalence, their moments of triumph are thoroughly engaging. (Kenny Mathieson)
o Eraserhead (18) (David Lynch. US, 1976) John Nance. 9(lmins.'1'he very strange Henry who lives with his strange girlfriend and even stranger baby. runs into incredibly strange problems with pus. 'I‘he barely-lit action takes place in a disturbing domestic landscape somewhere between nightmare and reality. and features a great haircut battling against some stomach-churning effects. Strange. Edinburgh EUFS 0 Fire Festival ( 18) (Mitsuo Yanagamachi. Japan. 1984) Kinya Kitaoji. Ryota Nakamoto. 118 mins. A lumberjack in a coastal town feels so strong a relationship with the Gods of the landscape around him that its gradual destruction by the forces of modern society drive him to an act of terrible violence. Hanagamachi's mystical tragedy manages to bring out the elemental
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