the harrowing experiences of the many young flyers who lost their lives manages to save the film from being just another so-what Saturday night special. Glasgow: Cannon Sauchiehall Street. Edinburgh: Odeon. UCI. Central: Regal. Strathclyde: UCI Clydebank, UCI East Kilbride.

I Metaphors, Monologues and Landscapes (18) More entries from material on view at last year‘s London Film Festival Experimantal season at the London Filmmakers co-op. The second programme, Current Diversiries explores the uses of technology and its possibilities for expressing responses to the world. Glasgow: GET.

I Mountains Of The Moon ( 15) (Bob Rafelson, US. 1989) Patrick Bergin. lain Glen. Fiona Shaw. Richard E. Grant. 135 mins. His early 19705 career saw Rafelson as a man at home with the murkier depths ofthe American psyche. but here he is with an ambitious African adventure. that centres on the expeditions ofSir Richard Burton (Bergin) and John llanning Speke (Glen) in search ofthe source ofthe Nile as a barometer of the Victorian age.where tremendous scientific and intellectual energy nestled with racist attitudes and moral repressiveness. While the central relationship isn‘t as moving as it might be. there‘s still a wealth of incident and intelligence to grab the attention. Strathclyde: UCI East Kilbride.

I Music Box ( 15) (Costa-Gavras. US. 1990) Jessica Lange. Armin Mueller Stahl, Frederic Forrest. 126 mins. Lange plays a successful Chicago lawyer whose Hungarian immigrant father (Armin Mueller Stahl) is threatened with the loss of his American citizenship when he is suspected of collaborating in wartime atrocities against Budapest Jews. Believing unswervingly in her dad‘s innocence she takes on the task of defending him herself. yet asthe courtroom testimonies pile up heinous accusations. the jury’s growing doubts are


Now Showing




Late Nights

I at 11.15pm £3/EZ.50__ ;Thurs 25 : BATMAN (12) & BLADE RUNNER (15)

Fri 26 : THE NAKED GUN (15) & AIRPLANE! (15)

Sat 27 : MAD MAX ll (18)

.& MAD MAX Ill (18)

(Wed 31 :








Pier Paolo Pasolini directing Orson Welles on the set of La Ricotta.

The murder of Pasolini on 2 November 1975 brought to a brutal end the most important artistic career in post-war Italy. It was also one of the most controversial. Reviled by both right and left, he drew his inspiration from the two great orthodoxies of the period, Marxism and Catholicism, while retaining allegiance to neither as a sell-confessed heretic.

Fittingly, the Filmhouse season of his films re-released in new 35mm prints, opens with the pairing of Hawks and Sparrows, and La Ricotta (Fri 26/Sat 27 Oct). Starring Orson Welles (a caricature of Pasolini), La Ricotta is the story of a film extra working on a Biblical epic who becomes crucilied in his search fora bite to eat. Typically, the film was accused of being pornographic and blasphemous and Pasolini was charged with offending the State Religion. Hawks and Sparrows is a comic table of two

waytarers who encounter a lett-wing crow in their journeys.

Medea (Sun 4/Mon 5 Nov) presents Maria Callas in the title role of Euripedes’ mythic story. Medea is brought back to Corinth with the Golden Fleece as the barbarian princess and lover of Jason. Remembering the rites and rituals of her home, she wreaks a terrible revenge when Jason is unfaithful to her. Oedipus Rex (Wed 14/Thurs 15 Nov) is the most autobiographical oi Pasolini’s films and is based on the plays by Sophocles.

For many, The Gospel According to St Matthew (Wed 5fthurs 6 Dec) is

, Pasolini's greatest film. Forget The

Last Temptation, this presents, according to Pasolini, “Christ, gentle at heart, but neverso in mind, who never gives up fora moment his own terrible freedom as the perpetual readiness to test his own religion - a continual contempt for contradiction and scandaL’

Accattone (Wed 21fihurs 22 Nov), Pasolini’s first film, was also the first in Italy to be restricted to viewers over eighteen. In the underworld of a sordid Roman suburb, Accattone is a petty thief, caught in a vicious circle of poverty, despair and vice. Death is the only way out. (Thom Oibdin)

The Sacred and Profane season of Pasolini movies is at Edinburgh Filmhouse from Fri 26 Oct. The season continues into December. See listings and next two issues of The List for details. A companion brochure to the season is available free from Filmhouse.

From Fri 2 Nov. Glasgow: Cannon, The Forge, Odeon. Edinburgh: Odeon, UCI. Strathclyde: UCI Clydebank, UCI East Kilbride.

matched only by her own fears. Stimulating and finally moving combination of Hollywood famin drama and the director‘s customary politicised grit. Central: MacRobert Arts Centre. I The Naked Gun ( 15) (David Zucker. US. 1988) Leslie Nielsen. Priscilla Presley. Ricardo Montalban. 85 mins. Nielsen plays a disaster-prone LA cop assigned to find the men who shot his colleague in a drugs bust . and protect our dear Queen at the same time. while also finding time for romance with secretary Presley. The makers ofAirp/ane here operate on a similar principle: keep it fast. keep it marvelloust dumb. and the comic dividends will eventually flow. Watch out for a great beaver gag and comedy cameos from Arafat. Gaddafi and Gorbachev. Edinburgh: Cameo. I Network (15) (Sidney Lumet. US. 1976) Faye Dunaway. William Holden. Peter Finch. 121 mins. Overheated 70$ satire of media and morals has Oscar-winning Finch as a fading news anchorman who finally freaks out in the studio, finds God and begins to spurt much evangelistic bombast. and finally sets himself up to commit suicide on air. Ratings soar. of course, and station boss Holden rubs his hands in glee. a gesture every bit as self-congratulatory as Paddy Chayefsky‘s screenplay for the film. Edinburgh University Film Society. I Never Say NeverAgain (PG) (Irvin Kcrshner. UK. 1983) Sean Connery. Max Von Sydow. Klaus Maria Brandauer. Kim

Basinger. 134 mins. Unofficial late entry in the James Bond stakes has the perfect but ageing Connery going through the same plot he did a couple ofdecades previously as 'l'hunderball. Still. it‘s much more palatable than the latterday Roger Moore efforts and there‘s quality casting afoot in the villainy department. Edinburgh: Cameo.

I Nightbreed ( 18) (Clive Barker. US. 1989) Craig Scheffer. Anne Bobby. David Cronenberg. 99 mins. Horror maestro Clive Barker‘s ambitious. flawed tale of monsters mythic cities (in Alberta) and psycho doctors which ran foul ofthe American censors. Though the sheer scale of the attempted horrorfest appears to have overwhelmed the narrative thread. it does boast an impressive array ofeffects and a disarming acting debut by director Cronenberg. Strathclyde: Odeon Ayr.

I The Night of The Hunter (PG) (Charles Laughton. US. 1955) Robert Mitchum. Shelley Winters, Lilian Gish. 93 mins. Mitchum is unforgettable in this atmospeheric tale (sadly Laughton‘s only film as director) in which he plays a psychotic priest chasing two children for the money stolen by their father. James Agee's script and Laughton‘s stark monochrome visuals mark out an allegorical conflict between good and evil but there’s plenty haunting imagery to make this a mesmerising cinematic experience. Edinburgh University Film Society.

I Nine-And-A-Halt Weeks ( 18) (Adrian

Lyne. US. 1985) Mickey Rourke. Kim Basinger. 113 mins. Divorcee Basinger becomes a slave to love and lust when she succumbs to the stubbly charms of commodities broker Rourke. Empty~headed and disturbing designer honking. Edinburgh: Cameo.

I Orphee (15) (Jean Cocteau. France, 1950) Jean Marais. Marie Dea. Maria (‘asares 95 mins. Cocteau creates an unrivalled cinema fantasy in this stunning modern version of the Orpheus legend. replete with surprising technical tricks and the director‘s personal brand ofpoetry. Edinburgh: French Institute.

I Parenthood (15) (Ron Howard. US. 1989) Steve Martin. Diane Wiest.Jason Robards. Rick Moranis. 124 mins. A film apparently derived from the experiences of Ron ‘Mr Nice Film' Howard. the ex-Happy Days star. Our Steve. ex-Happy Feet star. is in his element as a lovablejerk trying hard to be a good dad. However. the climactic montage where every member of the cast is either giving birth or cuddling some cute wee baby in glutinous slow-motion had our critic reaching for his Sten gun. Edinburgh: Broughton Film Society.

I Peggy Sue Got Married (15) Kathleen Turner. Nicholas Cage. Barry Miller. 103 mins. It's Back To The Future for grown-ups as fortysomething Turner gets a chance to go back to her high school and sort out her later-to-be slobbish husband Cage.Thc latter gives a performance that

reaches new heights of invention or depths ;

of mannerism. depending on yourtaste. while Coppola marks time with one ofhis most overtly commercial projects. Edinburgh: Filmhouse.

I Presumed Innocent (15) (AlanJ. Pakula. US. 1990) Harrison Ford. Greta Scacehi. Bonnie Bedelia. Brian Dennehy. Raul Julia. Paul Winfield. 126 mins. Courtroom drama with Harrison Ford as the upright state prosecutor accused of the murder of his colleague. Greta Saatchi. with whom he was having an affair. Raul Julia shines as the brilliant defence lawyer determined to get him off. Ex-lawyer Scott Turow‘s bestseller gets the prestige big-screen treatment from veteran director AlanJ Pakula who returns to the themes ofhis 7(ls‘ movies The Parallax View and All The President's Men. in this thoughtful vision of corruption running through America‘s corridors ofpower. Glasgow: Cannon The Forge. (‘annon Sauchiehall Street. Edinburgh: Dominion. Odeon. UCI. Central: (‘aledonian Strathclyde: Odeon Ayr. Odeon Hamilton. La Scala. UCI Clydebank. UCI East Kilbride.

I Pretty Woman ( 15) (Garry Marshall. US. 1990) Richard Gere. Julia Roberts. Ralph Bellamy. 12(lmins. In this hugely succesful comedy-romance. Gere stars as an unfeeling financial wheeler-dealer discovering he is human after all when he spends a week in the company ofRoberts‘ downhome goodtime girl. Conversely. she rediscovers her self-esteem by flawlessly carrying off the role of his high society companion. so the audience can feel happy for both of them. The outline might be as hackneyed as they come. but television veteran Marshall has just the right lightness of touch. Edinburgh: UCI. Strathclyde: Odeon Ayr.

I Rear Window (PG) (Alfred Hitchcock. US. 1954) James Stewart. Grace Kelly, Wendell Corey. Raymond Burr. 112 mins. Laid up with a broken leg, Slim Jim takes to neighbour-spotting with binoculars and camera at the ready. Before long, he‘s getting hot under the collar about the dirty deeds done across the yard. Is it murder? Or just naked voyeurism? One ointch's darkest movies. with an intense. unrelenting claustrophobia derived from confining the lens to the apartment set. Edinburgh: Filmhouse.

I Robocop 2 (18) (Irvin Kershner. US, 1990) Peter Weller. Nancy Allen. Tom Noonan. Dan O‘Herlihy. 116 mins. With a bigger budget to play with. this sequel to

24 The List 26 October 8 November 1991)