The middle-section may sag with conventionality but it is sandwiched between an effective beginning and a bafflingly resonant ending and it is a pleasure to witness a sci-fi movie that isn't just an assemblage ofeffects in search ofa plot. Edinburgh: Filmhouse 0 Rebel Without a Cause ( 15) (Nicholas Ray. US. I955) James
Dean. Natalie Wood. Sal Mineo. lll
mins. Moody. middle-class delinquent Dean is misunderstood by parents and peers alike but finds a sympathetic shoulder in pretty Wood. Seminal portrait of alienated adolescence bolstered by a strong supporting line-up and Dean’s intense charisma. Edinburgh: Filmhouse
o Restless Natives ( PU) (Michael Hoffman. UK. 1985) Vincent Friell. Joe Mullaney. 'l‘eri Lally. 89 mins. Juvenile Highland fling as two casualties of'l'hatcher's Britain get on their bikes and hijack coaches bursting with wealthy tourists. becoming the Butch and Sundance of Edinburgh town. Strained whimsicality and cuteness abound in this dismal Bill Forsyth clone. Strathclyde: Haldane Film Society 0 Rocco And His Brothers (PG) (Luchinl) Visconti. Italy/France. 1960) Alain Delon. Reni Salvatori. 18(lmins. An Italian peasant family moves from the country to busy Milan and each of the five brothers encounter personal difficulties. Lengthy kaleidoscope of grittin realistic city experiences. very well done ifa little too much to take in at one go. Part ofthe Scorsese related season. Edinburgh; Filmhouse
0 Round Midnight ( l5) (Bertrand
FROM DEC 12
ABC GLASGOW ABC KIRKCALDY
Parting Glances (15) (Bill Sherwood. US, 1985) Richard Ganoung, John Bolger, Steve Buscemi, Adam Nathan. 90 mins. Michael's emotional life is in turmoil; his long-term lover Robert is going abroad for two years and his closest friend Nick is dying of AIDS. During twenty-four hours of jogging, shopping, gossiping, a farewell dinner and a surprise party, Michael learns that Robert may, in fact, be running away from their relationship, and also acknowledges to himself that he has always loved Nick more.
The most refreshing aspect of Bill Sherwood's accomplished first feature is the relaxed, matter-ol-fact normality with which he views the gay lifestyle. From the opening moments Michael and Robert jog together, shower together, argue, kiss and make-up in the long tradition of screen couples. The big tradition is that that tradition has been heterosexual but the fact of their homosexuality on this occasion is just taken for granted. Here is one film where being gay involves no heavy burden of guilt or self-loathing, ‘coming out’ is not a problem issue and repression doesn't exist. It is a relief and a delight to watch such good-humoured scenes.
Choosing the dramatic device of a central figure torn between two lovers,
'l‘ayernier. France-LS. 198(1) Dexter (iordon. Francois (inlet. Lonette McKee. 133 mins. See (‘aption Review. Edinburgh; ('ameo
o Runaway ( 15) Michael (’richton.
ABC FALKIRK ABCGREENOCK
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Sherwood is able to offer a character study and an examination of attitudes to AIDS. Throughout he deploys the lightest and surest of touches. supplying his characters with credible dialogue and believable attitudes. His tone is affectionate, honest, sympathetic and, against the odds, optimistic. The AIDS issue is not exploited for cheap melodrama but accepted with reasonableness and responded to with a mixture of reactions from horrorto humour.
As one might anticipate from his musical background, Sherwood’sfilm
LIS. 1984)'l‘om Selleck. ('ynthia Rose. (iene Simmons. 97mins. (iood special effects cnliyen a routine if watchable futuristic cop yarn in which Selleck tracks down
First there was Luke Skywalker. Then came Indiana Jones.
Now the world has a new hero.
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’0' i \‘ l is a beautifully composed work that rarely betrays its low-budget origins. The soundtrack ranges from Brahms to Bronski Beat and is apositely deployed. The actors do justice to his script and Steve Buscemi particularly impresses as Nick, the performance artist refusing to go gently into the night.
Above all, the film is accessible to viewers, gay and straight alike. A modest triumph in almost every department, Parting Glances gave me ninety of the most pleasurable minutes spent in a cinema this year. See it. (Allan Hunter)
rogue robots who have gone haywire. 'l‘he nasty Simmons is a crime bigwig using the mechanical monsters for his own eyil ends. (ilasgow: (il’l‘
'I‘he List 12 Dec— Man 15