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REPERTORY WEEK Fri 27 : 2, 5, 8pm 'l‘llli t;.\'iit«:ARAiiLi-: I.l(3ll'l‘.\'l{SS oi: Blil.\’(‘i Sat 28 : 4.50, 8.45pm Wl'l‘ll.\'.-\ll. ~ I 3.05, 6.50pm How it) (iii'i' AllliAl) l.\' .-\l)\"lil<'l'lSl\(i Sun 29 : 4.25, 8.45pm MA.\'().\' or: .s‘ot‘i<<‘i~:s‘ 2.15, 6.35pm JliA.\’ i)i~: l"l.()Rl{'l'l‘l-i Mon 30 : 4.30, 8.45pm SlllRlI-ZY \'..\i.i-:.\"ri.\'i-: 2.20, 6.30pm I’AI{I~Z.\"I'II()()I) Tue 31 : 5.10, 8.45pm IIA.\'.\'/\ll .\.\'n Ill-IR SlS'l‘liRS 3.30, 7.05pm ANO'I'IIIiR WOMAN Wed 1 : 5.30, 8.45pm vras'tgs l’li'l'l-LR 3.50, 7.10pm itiiAViiXLY i>tJRst;ri's‘ Thu 2 : 4.25, 8.45pm I)R()W.\'l.\'(i BY NUMBERS 2.15, 6.35pm 'l'lll-Z BELLY or: as .utciii'i‘iac'i‘

3 - 10 August:

TIE ME UP! TIE ME DOWN! (18) 2.30, 4.40, 6.50, 9.00pm





of real emotional resonance out ot the most unpromising of material. so we should give him a little credit even ifsome doubts remain. Edinburgh: Cameo.

I Tom Jones ( 18) (Tony Richardson. UK. 1963) Albert Finney. Susannah York. Hugh Griffith. 129 mins. Groundbreaking. then raunchy period romp. looser adapted from Henry Fielding. has Finney's robust protagonist up to all kinds of sensual mischief (including the famous foodie seduction number with Susannah York) while Brit director Richardson's enthusiastic camerawork displays new wave mannerisms a go-go. Dated these days. but still a lot of fun. Edinburgh: Filmhouse.

I Triumph 01 The Spirit ( 15) (Robert M. Young. US. 1989) Willem Dafoe. Edward James Olmos. Robert Loggia. 120 mins. See main preview. Glasgow: Odeon.

l 2001: A Space Odyssey (Stanley Kubrick US/UK. 1908) Keir Dullea. Gary Lockwood. 141 mins. Celebrated visionary epic about the history and future of the human race. superbly crafted and directed by Kubrick. It needs the big screen to do real justice to the famous sequences on the development of man and the landing of the mysterious monolith. One of the great classics of modern cinema. Edinburgh: Filmhouse.

I The Unbearable Lightness 01 Being ( 18) (Philip Kaufman. US. 1987) Daniel Day-Lewis. Juliette Binoche. Lena Olin. 167 mins. Ambitious adaptation of Milan Kundera‘s complex novel about a womanising Czech brain surgeon who falls in love for the first time with adoe-Iike small-town beauty. Abandoning his freewheeling existence. he embraces commitment at the time ofthc Russian invasion of 1968. A dawdling and rather austere narrative is given some spice and interest by an overwhelming eroticism. a beautifully judged evocation of Prague and gorgeous photography. Otherwise

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The Vanlshlng (12) (George Sluizer, Holland, 1988) Bernard Pierre Donnadieu, Gene Bervoets, Johanna Ter Steege. 106 mins. Rex and Saskia (Bervoets and Ter Steege) are driving down into France lrom Holland on holiday. An ordinary young couple in an ordinary car and in ordinary love, they stop all at an ordinary service station where Saskla promptly and very extraordinarily disappears alter going to buy some soft drinks. But lor two discarded cans crushed in the road and a polarold which show her in the distance with a mysterious man, there are absolutely no clues to her late. Rex becomes completely overtaken with a desire to establish what happened and three years later he’s still engaged on his obsessive quest. Meanwhile Saskla's abductor Lemorne, (Oonnadieu) a rational and outwardly very respectable science teacher goes on with his happily married lite with his wile and two daughters in the country. Then via a perverse kind at courtship ritual involving postcards and leasing clues, the two men linally meet lace to lace . . .

Meticulous in every department and with a truly chilling surprise ending, this 1988 Dutch movie stays several steps ahead at audience expectations throughout. Sluizer makes absolutely



highly strung performance. As lorthe

out there. 80. three pieces at sound advice: don'ttalkto strangers, never

i trace. The distraught appeal lor help on

no concessions to ‘explalning’ his villain's behaviour in conventional movie terms and that only makes the character’s actions so much more horrilic. Instead ol the more typical crazy mother or deprived childhood, Lemorne is seen in llashback saving a little girl’s lite and his subsequent monstrous cruelty is presented as a kind of sell-testing rational exercise to see it he is as capable ol evil as at good. The unsettling coldness at his actions is matched by that ol the director who marshals Rex and Saskla with a similar callous precision.

A lirst-class suspenselul mystery, the lllm also has a very allectlng undercurrent of the kind of raw emotion and absolute vulnerability seen in the aftermath ol the many real incidents involving people disappearing without

TV, the pathetic aftermath ol Iile transformed into one long unanswered ; question, shine through in Bervoet's

last decade's most convincing movie villain, Lemorne, there’s at least one news story a week to tell us he’s still

trust a man with a beatnik beard and ' see this film. (Tom Tunney)

vastly oyerlong .iiid tiiiinyolying lidinburgh: (‘ameo

I The Vanishing ( l 2) ((ieorgc Slit/ier'. Netherlands France. 103s) Bernard-Pierre Donnadieu. (ienc Beryoets.Johanna'l‘er Steege. lllfillillls. See review ludiiibiirgh: l'ilmhouse, lVenus Peteri lliilan sellai. t'k’. WW) Ray Mcx‘snally . (iordon R Strachan. David I layman. ill mins. .-\llcctiiig adaptation shot on ()r‘kney of Scots yy ritcr (‘hristoplier Rush‘s impressionistic .-i

In t'll't‘nlUIlI/I .‘llltl A Day. set in a lishing village in the I‘lfills, ()ne of .‘ylcx‘srially 's last roles casts him beautiltilly as the sympathetic grandfather ol l’eter. played by riine-ycar-old Strachan (yy ho is not to be confused yy ith the diminutiy e Scottish midfield genius) in this moying study ol a dying community seen through the eyesol a young boy. Edinburgh: (‘ameo

I The Witches ( I’(i) (Nicholas Roeg. LS. 1990) Anjelica Huston. Mai Zetterling. Rowan Atkinson. 92 mins. Nine year-old Luke isysarned by his Norwegiaiigraiiny about the everpresent threat posed by the existence of yy itehes. which isn‘t much help actually because within the next half hour he stumbles on their annual convention in a small English hotel and gets himsell‘changed into a mouse for his pains. A pleasing adaption of Roald

Dahl‘s children's story has director Roeg (iii unusually straightforward manner) creating a superior kids moy ie that has you rooting for the mice all the way. l.otsof lllll. (ilasgoyy : (‘annori 'l'he l‘or‘ge. Iidinburgli: l’('l.

I Withnail Br I l IS) (Bruce Robinson. l 'K. 1%") Paul .\Ic( ianri. Richard l2. (irarit. Richard(irilliths. Ill-.‘nlllh ‘I‘yyo ottt-ol-yyork actors stiry mm: 196‘) London giro squalor take a break in a picturesque lake District cottage. ys here one of them sullei's the .itteritionsol the ageing homosexualoyyrier. Reasonany entertaining British comedy with a tendency to rely on the all-too-easy targets ol drug-taking and gay stereotyping lorits humour. Izdinburgh: (‘ameo

lWomen In Love ( is) ( Keri Rtissell. th. I‘)(i‘)) ( )liycr Reed. (ilciida Jackson. Alan Bales. Jennie linden. l3llmiris. Russell's line I).I I. luv. rence adaptation remains one of his most restrained and completely sucessful offerings. It follows the sexual discoveries of his two heroinesand berieilts from a fine eye for the rolling Iinglish landscape. Messrs Reed and Bates' nude fireside yy restling match was much debated at the time. but it's Jackson'scompelling ()sear-yyinning performance that remains most notable. (ilasgoyy : (il’l‘.