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I The January Mani IS l i I’m t )'(’onnor. l'S. I‘lh‘h‘l Kc\in Klmc. SUM!“ Surgindon. llurxc) Kcitcl. Rod Slcigcr. Wt mins. In .\'c\\ York. :i \criul killcr has murdcrcd clc\ cn uomcn in clc\ cn months. and \PL‘Clill rm cxtigulor Kcilcl is. lorccd to luring his c'\ll;llil1c‘LllH‘UlllL‘l‘KllllL'.illl ccccnlr ic \lL‘lllll. in on llic czisc. llllulpclh old romantic \xotlnd\ lor Snrundon. Klinc'xcx-girllricnd “ho “cm on lornzirr} his oldcr liitllllci' instcnd. (‘omplcx and illill‘llltllhitllL‘lllpll1}\L‘l'L'L‘lHH‘llL‘l.ltlllll l’ulr ick Shanlc) Ulrmnxrruck. l'i'i't' ("mum-s ) to lwlcnd compch rclutionxhipx. political corruption and :i lilzickl} comic p\_\cho, l‘ntorlungitcly. it rcullydocxn't comcoll at all. lzdinhurgh:(lunco.

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Le Chateau De Ma Mere/My Mother‘s Castle (U) (Yves Robert, France, 1990) Philippe Caubert, Nathalie Roussel, Julien Camaca, Julie Timmerman. 98 mins. In lamiliarJean de Florette/Manon des Sources manner, this second instalment based on Marcel Pagnol‘s Memories ol Childhood lorms a companion piece to the previous La Gloire de Mon Pere. Easy on the eye, easier on the mind, the earlier lilm presented a grindingly pleasant evocation at turn at the century Provence as a kind at pre-lapsarian paradise, where the only kind at mild unpleasantness in existence appeared to be the luture author‘s lather's teensy touch ol vanity overthe large game birds he‘d just shot.

From the outset here, events look to be spiralling even deeper into hyperwhimsy. Much ol the lirst hall at Le Chateau de ma Mere concentrates on wee M. tinding lurve torthe tirst time in the shape at a ringlet-tressed pubescent vixen who looks to have just stepped out of a Volkswagen. On a scale ol one to ten, this is yuck-lactor eleven, and even the very welcome sight at Jean Rochelort (The Hairdresser‘s Husband himsell) as the ' pre-teen babe‘s absurd absinthe-qualling romantic poet pop can do little to calm the stomach. Still, there is a touch ot curmudgeonry to come later. The main narrative thread

. x“;

* M . w I“ in this one has a slightly dodgy ex-pupil ol schoolmaster Pagnol pere passing ' on a key to the various gates on the local canal, thus enabling the lamily to take a time~saving short cut and visit : their mountain holiday hideaway every weekend. Until that is, they come across a grouchy jobsworth type, who insists that they‘re trespassing across his master‘s estate and conliscates the alorementioned key, severing their handy access torever.

At which point, the less charitable in the audience will be cheering torthe grumpy guard character, tor thus dispossessed it takes the Pagnols so (TrevorJohston) long to get to their second home that Edinburgh Fjlmhouse Sunday 23 they can only really go there during 3 Ju|y_sajurday 3 August

school vacations. Hardly apocalyptic, but at least it does otter some respite lrom the relentlessly golden-hued

. loveliness otthe rest at the two iilms. l Indeed, the only passage that speaks of ' real human pain comes right at the end . at this second part, when we learn just how many at the people we've met in the past three hours or so are to die in the trenches ol the Great War. It‘s an allecting moment because it intersects with the harsh truth at our experience, when much at what has come belore has only uttered the emotional resonance at a picture postcard.


A Festival first, a World first—

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