Strapless (15) a (David Hare, UK, 1989) Blair Brown, Bruno Ganz, Bridget Fonda. 97 mins. I'd have to say right out that this is hardly the worst movie ever made, but it is a seriously tlawed one. As such it's a turther indictment ol the way Britain's obsession with literary values has the eltect ol dampening our cinematic inventiveness. David Hare is, well, David Hare, and one does teel that his theatrical pre-eminence is the reason why Strapless got made as a cinema release. In a way the star and the selling point olthe lilm is David Hare himselt. Had it been a project lrom another hand, one leels that it would have been done (it at all) on television, which is obviously where it belongs. The brielest ol outlines otter some indication ol the lilm's problems. The impressive Blair Brown plays a London-based American doctor toiling in an under-tunded hills hospital, and gradually losing her sell-esteem in the process. Until, that is, she meets enigmatic European millionaire Bruno Ganz, and indulges in a mysterious atlairthat is to leave her sense at sell at

an even lower ebb. Meanwhile, her younger sister Bridget Fonda has Iett her devil-may-care days behind alter giving birth to a child and embarking on a career as a tashion designer. It ends with a tuna-raising show lor the NHS where all concerned sport Bridget’s strapless dresses and leel good about themselves once again.

‘They shouldn't stay up but they do!’ is the key line about the strapless numbers that are the lilm's keystone metaphor. This image is supposed to support notions ol lemale social and sexual independence and even stand lor the embattled status at the dear old NHS, but it simply isn't strong enough to bear the weight. Hare might have gotten away with such a dodgy conceit on stage, but it seems plainly misconceived on lilm. While the sentiments are admirable in themselves, and Bruno Ganz is as colossal as usual, Strapless collapses under its own portentousness; the might ol Hare’s reputation and sense at mission can do little to save it. (Trevor Johnston)

that lead to the Luxor l lotel. where Mabuse‘s closed circuit cameras scrutinise the guests' every move. Typically stylish Lang effort evoking an anti-realist atmosphere that recalls the world ofthe comic strip rather than the tough thrillers he was making in Hollywood just a few years previously. Edinburgh: Eilmhouse. ITDp Gun (PG) (Tony Scott. US. 1986) Tom Cruise. Kelly McGillis. Val Kilmer. 110 mins. Say what you like about him. Scott undoubtedly has the golden touch at the box office. This emotionless formula adventure about men being grandly upstaged by very last. very expensive and very dangerous aircraft. with the splendid Ms McGillis thrown for love interest. made a fortune. especially in the US. It had to be those planes. or maybe the rampant ‘America the strong' ethos ofthe film. because it doesn't have much more to offer. Strathclyde: Odeon Ayr.

I The Toxic Avenger(18)(Michacl HerL’Samuel Weill. US. 1984) Andree Maranda. Mitchell Cohen. Jennifer Baptist. lllllmins. Ultratrash offering from the Troma stable. which also brought you Stuff Stefanie In The Incineratorand SurfNazis Must Die. This one has the high school nerd fall into a vat of toxic waste only to emerge as a do-gooding mutant killer. Action highlight: the psycho-bimbo who masturbates over pictures ofcar crash victims. Ho hum. Glasgow: GET.

ITer Belle Pour Toi ( l8) (Bertrand Blier. France. 1989) Gerard Depardieu.Josiane Balasko. Carole Bouquet. 91 mins. Massive French hit offers a characteristic

twist on the old eternal threesome scenario. Depardieu plays the succcsful owner of a car showroom. envied by all for his beautiful wife ( Bouquet). who fallsin love with his dumpy secretary ( Balasko). A film of commendable openness about the needs of the senses and men‘sfacility for emotional expression. its true achievement is how it turns the stuffof farce into an intense hybrid ofwistful comedy and romantic passion. Glasgow: GET.

I Andrew Tudor Lecture: Monsters and Mad Scientists Mr Tudor presents an illustrated lecture as part of the Edinburgh Science Festival. Having studied over fifty years of horror films. Tudor has categorised their contents and form. and here he‘ll be offering some insights into the evolution of this most scorned of movie genres and its ability to affect our deepest feelings and neuroses. Edinburgh: Eilmhouse.

I Turner and Hooch (PG) (Roger Spottiswoode. US. 1989) Tom Hanks. Beazley. Mare Winningham. 108 mins. Hanks plays an obsessively clean and efficent cop who inherits Hooch the pooch. a massive mastiff. The limited comedy revolves around the dog‘s abilitv to drool gallons of of saliva and dismantle all obstacles while helping the police with their enquiries. Needless to say, the Mo form a loving relationship and needless to say the film was a winner in the US. but UK audiences had best hope that talents like Hanks. Spottiswoode and even Beazley get better scripts in the future. Central: Regal. Strathclyde: Odeon Ayr.

LEISURE PLC The Scottish Premier of


In aid of Scottish International Education Trust & Scottish Cinematograph Trade Benevolent Fund

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The List 6— 1‘) April 199019