Iidrnburgh: ()denn. Strathelyde: Kelburne. ()denn Ayr l I LastTango in Parist lflltBernardn Bertnlueei. France Italy. 1‘)73).\Iar1nn Iirandn. \laria Schneider. 131) mins. A ynung I’aris’ienne meets a middle-aged man xx ith xx hnrn she dex elnps an rnereasingly x inlent and purely sexual relatinnship. ()ne nl the key films nlits deeade. Bertnlueei' s pnxxerful drama is a rneditatinn nn the expressrnn and enmmunieatinn nl per‘snnal identity thrnugh intense sewal enntaet. (ilasgnxx; (itttsye‘fltll I Letters from a Dead Man ( I’(}l (Kittt\t.tfllillIatptlsllitnsky.I'SSR.193(1) Rnlan By km. Inset Rykhn. My mins. In an inhnspitable pnst-hnlneaust landscape surx ixnrs struggle nn. mnst nntably a fnr'mer \nhel I’r i/e xx inning seientist xx hn tries tn keep his memnries alix e by xx riting letters In his dead snn. I'ndeniably a gruelling e\perrenee. the astnnishingly sepia-tnned seenes nldexastatinn aridthe linal sprr rtual eatharsis make it alsn a wry mueh xxnrthxxhile nne. Izdinburgh: iaL'I‘S I Lift 10 the ScaIIO|d11’(illI.nuis Millie. I-ranee. 1‘95” 1 Jeanne .‘ylnreau. .‘ylauriee Rnnet. ( ienr'ges I’nuinuly ‘ltl mins. (‘nnsidered quite a gripping thriller in its day . \lalle's first dr amatre feature hinges nn a perleet erime nl rntrrder that dnes nnt gn aeenrding tn plan. Izdinburgh: IiI'I‘S I The Long Goodbye r is) l Rtibet‘t Altman. 1'5. 1W3) Itllintt ( ittlllLl. Sterling I Iayden. \rna Van I’allandt. 112 mins. A shnek tn the system rnr Ray mnnd('handler allieinnadns. this iennnelastie enntempnrary .‘ylarlnxxe mystery features a shambling. unkempt (inuld engagineg shuttling thrnugh a trnupe ntshady eharaeters ineludrng a missing pal. a my ster inus xy nrnan and the alenhnlie IIayden. Surpisingly agreeable. Itdrnburgh: (‘amen I Made in Heaven 1 I’( i l (Alan Rudnlph. i I'S.I‘1N"l'lrriititliy IIuttnn.I\'eIl_x .\1e( iilhs. Debra Winger. 1112 mins. I’ennsxlxania. I‘MS. Iix-ser'xieeman I Iuttnn is di'nxxned xy hrlst trying tn reseue the x ietims nl a ear erash. Arrix'ing in a ensy alterxxnrld he learns that reineai'riatinn axxaits him as part n1 the natural eyele. Idling away the time. he meets \le(iillis and they fall helplessly in 1 line. When she is dispatched tn be rebnrn as the daughternl an .-\irI'nr‘ee serge-arit-euiii~tny manulaeturei'. he begs tnlnllnxx her. A bettex‘nlentnrganiser' permits him a nexx human frame and thirty years nl‘ lite in xx'hieh tn traek dnxx n histr'ue lnx'e. itshe reengnises him , ..

(harming. nflbeat tantasy rnmanee t‘rnm a ennsistently underrated a sympathetie east enaet a thnughtlul and witty stnry abnut the pursuit nf hue and happiness. Iidinburgh: I’ilmhnuse I Making Mr. Right( 15) (Susan Seidelman. 1‘8. I‘lh7llnhn Malknx'ieh. Ann Magnusnn. (ilenne Ileadly, ‘lts'riiiris. See I’anel. ( ilasgnxx : (iI’I I The Man in Grey ( l’( i l t l .eslie .-\rliss. I'K. 19-131 Margaret Inekxxnnd. .Iames Masnn.1’hyllis (‘alxer't. Stexxart ( if anger. 110 mins. I‘Inrld. lull-blnnded enstume rnelndrarna sn belnx ed nl xx artirne British audienees in xx hieh impnxer'ished xy ieked lady I nekxy‘nnd is befriended by shnnl ehum ( 'alx‘ert and later repays the kindness by trying tn lure away her husband. (innd tun and a majnr step in the adx'aneement nl' ex'erynne‘s eareer. Edinburgh: IiIfI‘S I Manon Des Sources ( l’( i ) ((‘laude Berri. I‘r‘anee Italy. 195‘fo \‘x'es rnnntand. Daniel Auteuil. Iimmanuelle Beart. 114 mins. 'I‘eri years alter the demise nl .lean 1)e I‘Inrette. the Snubey rans nnxx run a prnspernus earnatinn farm. Ilnxx'ex'er. Jean's daughter has nnxy grnxy'n intn an alluring ynung xx'nman and. thrnugh the ( txxists nl unpredictable late. is able in wreak her rex'enge.

Steering this epic rural saga tnxyards the realms nl (ireek tragedy. Mir/inn is a full and satisfying seennd hall that explnres


Wall Street (15) (Oliver Stone. US. l 1987) Charlie Sheen. Michael i Douglas. Daryl Hannah. Terence Stamp. 126 mins. With Salvador. 1 Platoon and now Wall Street. writer-director Oliver Stone has clearly established his niche as the conscience-pricking chronicler of contemporary America. Fuelled by ire and passion. he is an unabashed moralist confronting his flawed heroes with character-defining dilemmas and inviting us to observe as they are excited. seduced, overwhelmed. abandoned and ultimately redeemed by the wrong turns and twists of their encounters with malfeasance. Lacking the blistering, righteous angerof Salvador, Wall Street finds his fire tempered by a more seductively ambivalent incarnation of evil, but the result is still an impressive. engrossing drama that, for memorable dialogue and fluid cinematic skill remains comfortably ahead of the current pack.

Dedicated to his stockbrokerfather and set in the bustling pre-crash Bull Marketera. the moral ofStone‘s latest saga of frail human nature is that it is better to create than live off the buying and selling of others.

Charlie Sheen plays Bud Fox, the ambitious. fast-rising yuppie son of a blue collar lather who has spent his employed life in honest, decent graft forBlue StarAirlines. AWalI Street rookie. Bud belongs to a new generation greedily seeking the main :hance and a fast lane to wealth and success. His role model is Gordon Sekko (Michael Douglas), 3 :ontemporary robberbaron and ;fockmarket legend.

Using privileged information inthinkingly confided to him by his iather, Bud gains a foot in the door of


the suffering nl the guilty as they pay a crippling penanee lnr man’s greed and any 'I'he prnduetinn x alues are as high as ex‘er and Auteuil assumes I )ep;rr'dretrs mantle as the human snul nl this eprsnde in his tr‘agi-enmie dexelnpment trnm glarkit idint tn brnken-hearted suitnr. .\ stir ring aehiex'ement. (i1asgnxx:(irnsx ennr IMinistry 01F83f11’(il(l'r‘it/l angtls‘. 1944) Ray \lilland. \larinr're Rex nnlds. I)an I)uryea. S5 mins. .-\dapted linm the (iraham ( ir‘eene nnx e1. this is nne nl lang‘s mnst satisfying :\mer'iean mnx ies with star .‘ylilland at the peak nl his pnpular'ity :\ tense talent esprnnagem

xx artirne Inndnn and the lr aming nl an innneent man it is tautly ennstrueted. atmnspherie and siispensetul in the Ilitehenek traditinn, I'dinburgh: I5i1mhnuse

I Moderato Cantabile t l’(illl’eter Ilr‘nnls. I‘ranee Italy. I‘lhlllieanne \lnr'eau. Jean-I’aul Belmnndn. ‘lll l‘lllll\. Iiased nn .1 riner by .‘x'larguerrte I)uras thisxxas deser‘ibed by Ilr'nt lb as 'an elabnr ate L‘Ke'l‘e‘ise 111 see \\ llellter' 11 is (M issible 1H phntngrapli an almnst my rsihle but tangible reality‘. Set in a small tnxx n in the (III—(IIILIL' it tells nl an unennsummated affair hetxx een the restless \\ rte nt art industrialist and nne nt her husband's lnrmer ernplny ees xx lin is dng-hke 111 hrs dex'ntinn. Iilliptieal. hy pnntre xx rth the stars prnx'iding a subtle btit pntent undercurrent nl highly ehar'ged se\tlality. I5dinburgh: I‘ireneh Institute

Sekko‘s empire. Naive. brash and )ersistent. he amuses Gekko. who ooks him inthe eye and seeshis (oungerself and a surrogate son. He ;akes Bud in hand. promising him Jowerand riches beyond his wildest dreams ifhe hasthetenacity and ruthlessnessto compete athislevel. Like an eagerpupkeento impress. Bud iumpslohis master's voice and is soon atop-selling brokerwitha private office. amillion-dollarapartmentanda stunning new girlfriend. Who cares that illegality has propelled hisrise; he is goingto bea playerlikethe idolised Gekko. GekkothenplansthetakeoverofBlue Starwith an elated Bud inthe driving seatofthe company‘srex'italisation. Fearing Gekko'sasset-stripping reputation. Bud's fathercautions his union againstthe deal requiring3200/o wage cut. Bud chooses to trust Gekko andrealisesthe extentolhis gullibility whenitisrevealedthatGekkoaimsto liquidatethe companyand pocketthe attractive pension funds. Finally forced

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to examine his soul. Bud pu ls back from the abyss and determines to save the company and rescue his self-esteem.

Delineating the choice between good and evil. Stone has stacked the odds in favour of the bad guys, allowing Gekko the charismatic seductiveness of his ill-gotten gainsthe bestlinesthis side of Paddy Chayefsky. Michael Douglas rises with relishtothe calibre ofthe script and invests his characterwith a self—satisfied reptilian smugness that repels and attracts in equal measure. By comparison, the old-world integrity of Martin Sheen‘s Carl Fox seems decidedly wimpish.

This imbalance affectsthefilm but notthe conviction of its storytelling. Stone is a great all-round moviemaker; ableto convey stories rich in language, characterand meaning. His themes are universal, his style is polished and his substance significant. Wall Street maintains hisfront-rankrating among current American directors. (Allan Hunter)

l‘l\(»l\e lll ( 'nrinerx , I- \Iur ray .\l‘l.lll.llli. t 'hrrstrari Slater. 111 mins. \liirxellnus inedrexal mystery xxith the masterful ( Ullllt‘H as .l Sherlnels IInlmes-like sleuth nn the trail nl a murderer ill the ninnasterx .-\ ennxineing histnr real atrnnsphere and a I§.-\I-'I .-\ xxrnningperlnrmanee trnmSean.

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