does he become that he fails to notice the very real affections she is beginning to develop for him.

Desperately moralising but otherwise fairly amiable American teen fare. Edinburgh: Odeon I Carmen (PG) (Peter Brook. Frx'UK. 1983) Helene Delavault. 85 mins. Based on Brook‘s own highly acclaimed Paris Opera production. this is a pared down version of Bizet shot in claustrophobic settings to an intimate effect that subverts the usual expansive cinematic approach to the medium. Edinburgh: Filmhouse.

I Clan OtTlre Cave Bear ( 15) (Michael Chapman. L'S. 1986) Darryl l lannah. James Remar. 98 mins. 'I‘roubledattempt to film Jean M. Auel's anthropological bestseller. with John Sayles‘ subtitled grunting screenplay alternately risible and just plain dull. Hannah in bearskin tries hard. Edinburgh; Cameo.

I 'Crocodlle' Dundee ll (PG) (John Cornell. Australia. 1988) Paul Hogan. Linda Kozlowski. John Meillon. lllmins. Not entirely unexpected sequel has Hogan's Dundee retracing his steps from Manhattan to the Aussie hush to protect his girlfriend journalist Kozlowski from the unwanted attentions of a gangof Colombian drug peddlars.

A lame script and l logan's catatonic underplaying mar this antipodean comedy-adventure to the extent that what will undoubtedly be one of the year's most profitable releases unfortunately also has to go down as one of the most tedious. Glasgow: Cannon Clarkston Road. Cannon Sauchichall Street. (irosvcnor. Edinburgh: Cannon. Dominion. Central: Cannon. Strathclyde: Cannon. Kelburne. La Seala. ()deon Ayr. ()deon l lanrilton. I Dark Eyes (PG) *3: (Nikita Mikhalkov. ltaly LISSR. 1987) Marcello Mastroianni. Silvano Mangano. Lilena Sofonova. Marthe Keller. 117 mins. Sec caption review. Edinburgh: l-‘ilmhouse I Days Of Heaven ( PG) ('l‘erencc Malick.

US. 1978) Richard Gere. Sam Shepard. Brooke Adams. 94 mins. Malick is one of the great wayward talents ofthe contemporary American cinema (Badlands is his only other feature) and this is an exquisite triangular love story set against the wheat farming Midwest at the turn of the century. You can almost feel the sweat of labour and smell the soil. such is the power of undoubtedly majestic film-making. Glasgow: GF'I‘

I The Dead (U) (John Huston. UK/W. Germany. 1987) Anjclica Huston. Donal McCann. Helena Carroll. 83 mins. Huston‘s final film is a superb adaptation of the James Joyce Dubliners short story. Set during a traditional festive celebration its skill and mellow perception draw you into another world where the dinner conversation and general mcrriment reveal universal truths about death and the beauty of true love. Glasgow: GFT

I Deadly Pursuit ( 15)( Roger Spotiswoode.

115.1987) Sidney Poitier. Tom Berenger. Kirstic Alley. 110 mins. A welcome return to the screen after a lengthy absence for Sidney Poitier in this just above average thriller. He plays a sterling FBI manon the trail of a dangerous homicidal criminal across treacherous mountain terrain. and who is forced to enlist the help ofsurly guide Berenger whose girlfriend the baddie just happens to have kidnapped. Top drawer cast and technical credits provide the watchable performances and excellent use of breathtaking locations that take one’s mind off the rather contrived narrative and gaps in credibility in this superior piece of formula fodder. And Sidney does put himselfabout a bit for a man in his Sixties. Glasgow: Cannon Sauchihall Street. I Diva (15)(Jean-Jacqucs Beineix. France. 1981) Frederic Andrei. Roland Bertin. Richard Bohringer. 117 mins. The twisted fate of two tapes. one an illegal recording of an American opera star. the other exposing a crime ring. is the central

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strand of this daffy Gallic cult favourite. Style exudes from every sprocket hole. Edinburgh: Cameo

I The Easy Lite (PG) (Dino Risi. Italy. 1962) Vittorio Gassman. Catherine Spaak.Jean-Louis Trintignant. 105 mins. Middle-aged. fun-seeking playboy Gassman takes meek student 'l‘rintigriant in hand one weekend and introduces him to the high life on a journey from Rome to Viareggio. Cynical. well-played satire on the Italian consumer boom culture of the 1960s. Glasgow: GFI‘.

I Everybody Go Home (PG) (Luigi (.‘omencini. Italy. 1960) Albero Sordi. Serge Reggiani. Martin Balsam. thlmins. September 1943. The Badoglio government signs an armistice with the Allies. Mussolini is established asa German puppet and Sordi's second-lieutenant is bewilderirrgly caught in the middle wondering exactly what his patriotic duty might be especially as he favours laying down arms and heading for home. Reputedly a sharper. darker form of humour from the maker of the Bread. Loveund. . . series. Glasgow: (il’l‘.

I Flesh And Blood ( l8) (Paul Verhoeven. Netherlands US. 1985) Rutger l latter. JenniferJason Leigh. 126 mins. Vcrhocven's first linglish language picture before the success of Rohomp is a lusty medieval epic that more than livesup to its title. Leigh is the fair maiden abducted by l lauer‘s band of marauders. whose nefarious activities are depicted in occasionally repellent detail. lidirrburgh: Cameo.

I Full Metal Jacket ( 18) (Stanley Kubrick. UK. 1987) Matthew Modirrc. Dorian Harewood. l.ce Iirmey. 109 mins. Technically effective but soulless depiction of raw Vietnam recruits as they endure basic training and the even greater horrors ofthe 1968 'I‘et offensive. A disappointment. Edinburgh: ('arrreo.

I The Great War( l’( i) (Mario Moiricelli. Italy. 1959) Alberto Sordi. Vittorio

Gassman. Silvano Mangano. 142 mins. WWII. two reluctant soldiers emerge unscathed after a number ofcorrric escapades. Good-looking historical satire whose anti-heroic attitudes caused quite a stir at home upon the film's initial release. lidinburgh: l‘ilnihouse.

I Gregory's Girl ( PG) ( Bill l-‘orsyih. t 'ls'. l98l ) Gordon John Sinclair . Dee Hepburn. (‘lare (irogan. 9] niirrs. Winning comedy from (‘urribcrnauld with Sinclair eventually finding romance after his heart is set aflanre by the latest recruit to the school football tearrr. Seminal piece ofScottish Cinema. its universal appeal demorrstralirrg that homegrown talent can compete yy itlr llollyyvood's finest in the entertainment stakes .(ilasgoyy: ( il’l.

I Hail! Hail! Bock'n'Roll (l’( i) (‘1 .ry lor llackford. l'S. l‘)87)('huck Berry. Keith Richards. laricClapton. lZl mins. llackl'ord's portrait of a duck-walking legend yy hitewashes the star's notoriously obnoxious personality (Berry hmisell co-produced ). but a few glimpse-sol an increasingly hassled Keel Richards attempting to organise an all-star titlth birthday tribute concert attest to his curmudgeonlirress. Music‘s great though lidinburgh; l-'rlrrihouse.

IAHandlul OtDust(1’(iiit‘hai'les Sturridge. l 'K. I987) .lames \‘y'rlby. Kristyn Scott-l hornas. Rupert (ir'ayes ll8mins l lying in splendour at the ancestral seat. ill-matched upper class coupleerby and Scott— l‘homas lrrid their already deteriorating relationship trudged further along the road to ruin by the arriyal ot handsome rrrgenu ( iray es asa parasitrcal house guest.

Beautifully acted and crafted lrlrii yersiorr ol the lyer rr \Vaugli noyel captures the sources per rod detail yy ith impeccable case. but the charaeterisatron's genteel tair-mindedrress fatally subdues the originals yenoruous note. lidinburgh: Cameo.

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