traitors who have betrayed him and hiscompatriots. Edinburgh; French Institute

0 The Big Heat (15) (Fritz Lang, US, 1953) Glenn Ford, Gloria Grahame. 90 mins. When a police detective’s wife is killed by a car bomb, he moves into action to apprehend the villains behind it.

Searing Fritz Lang thriller with acid dialogue and a superby twitchy performance from its well-cast star. The violence was widely remakred upon at the film’s initial release and it retains some of its gritty power even today. Edinburgh; EUFS 0 Blade Runner (15) (Ridley Scott, US, 1982) Harrison Ford, Rutger Hauer, Darryl Hannah. 118 mins. Los Angeles, 2019, a tough cop tracks down a group of sophisticated androids gone haywire in this hi-tech retread of Raymond Chandler. Edinburgh; Filmhouse 0 Blood Red Hoses 1‘: (John McGrath, Uk, 1986) Elizabeth MacLennan , James Grant, Gregor Fisher. 140 mins. Rare screening of the special cinema version of the three-part mini-series to be shown on Channel 4 in December. One of the true highlights of this year’s Edinburgh Film Festival, this is a rousing celluloid version of the 7:84 success charting the vicissitudes in the life of an industrial militant through the political highs and lows of the last three decades. Brash, partisan and vivid social history as entertainment. Writer-director John McGrath will be present afterwards to discuss his work. Glasgow; GFT. Edinburgh; Filmhouse 0 Bring on the flight (15) (Michael Apted, US, 1985) Sting. 97 mins. Shot over a nine-day period in and around Paris this documents Sting’s departure from The Police, the setting up of his new band and the performance of their first concert.

Edinburgh; Odeon

o Caravaggio (18) (Derek J arman, 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 humour, remains very much Jarman’s own. A work of careful , but not embalming refinement, it is most definitely the product of a painterly sensibility. Glasgow; Grosvenor

O Casanova (18) (Frederico Fellini,


The Good Father (15) (Mike Hewell, UK, 1986) Anthony Hopkins, Jim Broadbent, Harriet Walter. 90 mins.

The Good Father is one British film that Q

boldy goes where others fear to tread; offering a vigorous assault course through the post-leminlst sexual battleground.

Anthony Hopkins is a middle-class marketing executive who made all the concessions deemed necessary to the


worthy women’s movement by a caring '

liberal. Now, he is separated from his wife and child; angry, confused and with nothing but trouble in mind. He resents the alimony payments and a

son who ‘can hardly remember who the

fuckl am.’ The poison of vengeance courses through his every vein.

Bitter, bile-ridden and scarcely able to communicate with former friends and acquaintances he meets a fellow male in similar circumstances. Teacher Roger Miles (Jim Broadbent) has been abandoned by his wile and son who are now living with her lesbian lover. Sensing an opportunity for revenge Hopkins uses his newfound friend to vicariously exorcise his ill-repressed ferocity. Approaching the bench, the two men ruthlessly exploit the innate conservatism and prejudices of the legal system to gain custody of Roger’s son and deprive his wile of her residual rights.

The Good Father is the kind of



/ \

caustic, vindictive tug-of-love that the likes of Kramer v Kramer could never be. Anthony Hopkins' commendany g uncompromising reading of his monstrous character refuses to elicit an ounce of audience sympathy, 1 making his petty bloody-mlndedness é understandable and all too i recognisably human. The sellish war of; attrition that he wages is the desperate * act oi the vulnerable liberal drowning in sell-loathing because the world has ! altered from his ideal. 5 Mike Newell directs with a sense of economy and pace, making good use of: the naturalistic locations and tightly ' editing some bravura sequences. His . handpicked cast all unite in an 1 ensemble of the almost caricatured; i Simon Callow is on lip-smacking form E as an oily advocate, Miriam Margolyes 3 adds a touch of the ludicrous to her i forcibly leminlst lawyer and Jim ' Broadbent is wonderfully sensitive as i the hapless Roger. i The ending, in which Hopkins admits F that he left his marriage because of his son and not his wife (‘klds suck you dry , of love’) underlines the naively of the ‘forever-young generation’ but tends to f deflate the heated entanglements of ' what has gone before. Nevertheless this is a sharp, witty and thought-provoking piece of potent entertainment. ; (Allan Hunter) 2

Italy, 1976) Donald Sutherland. 154—i mins. If you’ve been tuning into the excellent Fellini mini-season running as part of the Beeb‘s laudable Film Club on a Saturday night you’ll most certainly want to catch up with this one, featuring Donald Sutherland under a quite extraordinary make-up 2 job as the famous lover. As with ' much of the Italian’s work there‘s a preoccupation with the male

sexuality at the core. Edinburgh; Filmhouse

0 Choose Me (15) (Alan Rudolph,

US, 1984) Keith Carradine, Lesley Ann Warren, Genevieve Bu jold.

106 mins. A stranger arrives in Eve’s bar and before long is embroiled in a shifting relationship with the proprietress and another woman , a radio agony aunt. Former Altman collaborator Alan Rudolph’s film, with its studio sets and deliciously improbable narrative, seems to

linger between fantasy and reality as

it teases and surprises the viewer. Edinburgh; Filmhouse

0 Cinderella (U) (Walt Disney Productions, US, 1950) With the voices of Ilene Woods, William Phipps, James MacDonald. 75 mins. The Disney magic dust is sprinkled over the Charles Perrault fairytale about the beautiful commoner who captures the heart of a dashing

prince. Edinburgh; Odeon : 0 Chuck Amuck (U) 85 mins (approx). A selection of some of the best animation ever produced by the extremely talented and effortlessly charming Chuck Jones. Among the goodies Bully for Bugs. For Sceniimental Reasons and Duck Dodgers in the 24 ’/2!h Century. Glas OW' GFT

0 C0 onei Bedl (15) (Istvan Szabo. Hungary/West Germany/ Austria, 1984) Maria Brandauer, Jan Jiklas. 149 mins. The Austro-Hungarian Empire’s Head of Military Intelligence, Redl, has denied his roots, betrayed his friends and repressed his homosexuality in his rise to the top. Edinburgh; EUFS

o The Color Purple ( 15) (Steven Spielberg, US, 1986) Whoopi Goldberg, Margaret Avery, Danny Glover. 152 mins. Spielberg goes serious, turning Alice Walker‘s Pulitzer Prize-winning classic of Black American feminism into a Davide-Lean-style epic with all the emotional stops out. Whoopi Goldberg is wonderful.


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“The List - 13 Nov 9