(Francis Coppola, US. 1986) Kathleen Turner, Nicolas Cage. 103 mins. An entertaining. irresistibly sloppy romantic drama as Turner collapses at her high school reunion and regains consciousness in 1959. eagerly grasping a chance to live her life over knowing then what she knows now. Glasgow; Salon.

0 Politics, Propaganda and Early German Cinema This is a day school organised by the EUFS which seeks to examine the cinema of Weimar and Nazi Germany. tracing the masterpieces of the expressionist period of the Twenties and the decline in artistic standards when production came under the political control ofthe Nazi government. The day opens with coffee at 9. 15pm and closes with a wine reception at 7.50pm; among the films to be screened are Fritz Lang‘s Dr Mabuse, The Gambler ( 1922). Leni Riefenstahl‘s The Blue Light ( 1931) and clips from Murnau‘s The Last Laugh (1924). Eisenstein’s The Battleship Potemkin (1925) and Riefenstahl‘s Triumph ofthe Will (1935); and there will be a lecture on the historical background as well as a keynote address by a prominent film critic ofthe period.

The event will take place at 60 The Pleasance. Edinburgh on Sat 25 Apr. Tickets prices £3 (+£1 .20 for lunch) for Filmsoc members, U840 and CAP. and £6(+£1 .20 for lunch) for non-Filmsoc members, are available on application by no later then Wed 22 Apr to Sarah Newman. Filmsoc. 60 The Pleasance. Edinburgh EH8 9TJ. Late enquiries by phone only to Sarah Newman 031 557 4970.

0 Pretty in Pink ( 15) (John Hughes, US, 1986) Molly Ringwald. Harry Dean Stanton, Jon Cryer. Andrew McCarthy. 98 mins. Molly is the girl from the wrong side of the tracks forced to choose between two men: Cryer the idolsing ‘zoid‘ and McCarthy the ‘richie‘ she really lusts after.

A certain familiarity in the narrative is eclipsed by chic trappings and music, and by Hughes‘ faultless feel for teen dialogue which elevates the film from cliche’ to winning credibility. Glasgow; GFT o Priest of Love ( 15) (Christopher Miles. UK. 1980) Ian McKellen. Janet Suzman. Ava Gardener. 108 mins. DH. Lawrence finds himself beset by Philistines and goes off to the sun because his TB is ailing him. New, rejigged version of a rather aimless biographical piece which was never up to much in the first place. Edinburgh; Filmhouse

0 Duerelle (18) (Rainer Fassbinder, W. Germany. 1982) Brad Davis, Franco Nero. Jeanne Moreau. 106 mins. Stultifying. stylised version of the Jean Genet novel with Davis as the French sailor discovering his homosexuality. Risible, poetic, pathetic. tedious and hypnotic. Fassbinder‘s final film. Edinburgh; Cameo

0 Raw Deal (18) (John Irvin. US. 1986) Arnold Schwarzenegger. Kathryn Harrold. Sam Wannamaker. 105 mins. Arnie plays a retired FBI agent brought back into service by a hassled Chiefto sort


The Green Ray (PG) (Eric Rohmer, France, 1986) Marie Riviere, Lisa Heredia, Vincent Gauthier. 98 mins. The Green Ray is French director Eric Rohmer’s latestfilm in his dispassionately observed series, “Comedies and Proverbs.’ Delphine is miserable because all herworkmates

out a gang ofbad-assed muthas intent on wiping out all the key witnesses in the case against a Chicago gangleader. Formulaic and plodding potboiler without the invention of The Terminator or the self-mockery of (.‘ommando. Action man Arnie is wasted.

Lothian: Cannon. Strathclyde: Cannon Greenock. Cannon Kilmarnock

0 The Rocky Horror Picture Show ( 15) (Jim Sharman. UK. 1975) Tim

Coming Up Roses (PG) (Stephen Bayly, UK, 1986). Dafydd Hywel, lola Gregory, Mari Emlyn, W.J. Phillips. 93 mins. Everything is actually coming up mushrooms, as it happens, but more of that later. Coming Up Roses is the first full-length feature film to be financed by $46 and made wholly in Welsh (yes, it has sub-titles), even if the original script was translated from English. Trevor has been the projectionist at the local cinema since he left school, and has known no other work. When the absentee owners decide to close it down (much like Wales, if you think

are off on holiday with their boyfriends. This is a sore point since Delphine no longer has one. A friend invites herto Normandy, but she stays only three days. She travels to the mountains and then on to Biarritz. Here she meets a fun-loving Swedish girl whose determination to enjoy herself

Curry. Susan Sarandon. Barry Bostwick. 101) mins. Dust off the old suspenders. water pistols and rice for another spin with the kinky cult musical horror spoof. ~

Glasgow: Grosyenor. Edinburgh: Cameo

O A Room Willi A View ( PG) (James lvory.L'S.1985)llelenaBonham Carter. Maggie Smith. Denholm Elliott. ll7 mins. A trip to romantic Venice and whiffofunbridled passion are more than enough to


about it), both he and the ice-cream seller, Mona, find themselves out of work, while the cinema managertakes retirement. Trevor reluctantly takes on the job of caretaker while waiting to find out what is going to become of the place.

After he and Mona have worked hard cleaning the cinema up for inspection by a prospective new owner (a laconic cameo role for Bill Paterson), both accept that the place will never again open its doors as the Rex, and confirmation comes in the shape of plans to turn the site into a car park.

depresses Delphine more than ever. She is set to return to Paris when a chance encounter occurs in a railway station.

Rohmer's lean, observational style has yielded some neatly-fumed movies. ‘The Aviator‘s Wife' and ‘Pauline at the Beach' seemed effortlesst poignant and truthful. This it seems is Rohmer's particular skill to efface the tell-tale marks of the filmmaker‘s artifice in such a way that we are truly taken in by his slight, everyday fictions. What‘s more, we know the people who inhabit his films. They are simultaneously idiosyncratic and universal. Their moral dilemmas, their quirks, their moods, ambitions and desires are instantly recognisable.

in this dry, stylish accomplishment Rohmer foists upon us the exceedingly irritating character of Delphine. lie indulges her every whim and begs us to do the same. While continuing to admire his skill, in the end one longs for some rough edges or, at the very least, a bit of spit to go with the French polish. (Simon Cunliffe)

turn a young girl‘s head and sour her towards the diligent attetntions of her stuffy Home Counties suitor. Highly agreeable. perfectly realised version ofthe EM. Forster novel now celebrating its first year in residency at this particular venue. Edinburgh: Dominion

0 Round Midnight( l5) (Bertrand 'l‘ayernier. US-France. 1986) Dexter Gordon. Francois (‘luzet. Lonette McKee. 133 mins. In the Parisofthe late 1950s. a young French jazz fan

Trevor begins to stage a quiet, underground rebellion, allowing a group of pensioners to gatheras always in the balcony, and the local rock band to practise in the auditorium. Not to forget the mushrooms, bought by Trevor as a present for Mona, who

sees a dramatic oossibilitvfor raislna money Trevor needs to repay a loan

from the manager and ensure that he gets the tombstone of his dreams. The pair start a mushroom farm in the cinema, recruiting friends and family into the wholesale operation, but are eventually thwarted by offlcialdom when they have to clear the lot out to an abandoned factory as Trevor desperately stalls the local council inspectors in the Foyer, with disastrous results. The film ends on a slightly false upbeat note that belies the social disintegration it hints at throughout.

Ironically, given its status as a flagship for the new Welsh cinema, this charming, often enjoyable, but ultimately slightly disappointing comedy harks back to a distinctly English model. Coming Up Roses recalls the Ealing comedies of the 19503; in the decade where the tenor has been set by Bleasdale and Tuttl Frutti, something more incisive than that is expected in any dissection of the social fabric of 1980s Britain. (Kenny Mathiesonl

The List 17 30 April 13