FILM REVIEW climate of the day. Quinlan iostles our
Em THRILLEB BE-HELEASE sympathies to the last and, as it SOUNDTRACKS TOUCH OF EVIL Citizen Kane, there is a rather
simplistic explanation ol the monster. Orson Welles’s stylish 50s noir prowls Welles was adamant in his own moral
around the Mexican border town stance, though - two wrongs do not where a VIP has )ust been blown up in make a right.
his car. Welles plays American (in the lighter side, there’s plenty to detective llank Quinlan, a corrupt. enjoy about this new print, inevitably bloated tumour of a cop, gorging touted as being near-as-dammit the candy bars and planting evidence. director’s cut. There’s a virtuoso Charlton Heston gets Mex-ed up in it central performance (and the most
as Vargas, a special narcotics unllattering ot screen entrances); investigator on honeymoon with some lamous lines from a
American wile Susan (Janet Leigh). grotesquerie of Hollywood stars; a line
local mobster Grandi (Akim Tamiroll) score by Henry Mancini; and several has it in tor the Mexican and proves a marvellous sequences. For sheer necessary evil tor Quinlan when melodrama, it’s hard to beat the Vargas clocks his methods. As nightmarish strangulation played out Guinlan’s past returns to haunt him, he around Susan as she lies pumped lull "‘3 9"" “'95 embarks on a sinister campaign to gag oi drugs in a motel room. (Gio
, Vargas and Susan. MacDonald) 2232323332?“ The racist characters in Touch 0! Touch 01 Evil (12) (Orson Welles, US, tttc weight otcompttatton Evil only obliquer voice their 1958) Charlton Heston, Janet leigh, albums featuring ‘music prejudice - perhaps as much because Orson Welles. 108 mins. From Fri 1 . . t from the motion ot Welles’s humanity as because oi Ilov: Edinburgh Filmhouse. From Mon ‘ ' " ‘ ‘ ‘ ' picture - o but the the production code and political 2 Dec: Glasgow Film Theatre. Touch Of EV": ‘8 grotesquerle 0' Hollywood start"
soundtrack for The Gratt (Columbia/Sony) is an exception amongst
marketing mish-mashes- HORROR imagery. Night Of The Living Dead, on :he mm ltscms we" the other hand, is more nightmare than
Orror at “5 most dream, as a la ue of zombies mammcam (see rewew)’ relentlessly Sesﬁend on a handful of but the bands here have a g . b d d . t i t distinctly alternative edge ' . ‘urvwors Oar c up m ‘1 rcfno c in an indie/light grunge Hallowe en Will have been and gone farmhouse. George Romero s low- domain. Choice cuts are , before the Filrnhouse in Edinburgh budget classic redefined the modem Juliana Hatﬁeld‘s version : begins its celebration of gory glories, horror movie — which is more than can Of The WitCh'S 30“? and but there’s still the odd monster in the be said for Lucio Fulci’s Zombie Flesh Our Lady Peace’s spin on shadows to guarantee a few scares on Eaters (shown Yn its original UK .Lcnnon and Mccarmcyk Saturday 2 November. cinema cut), the prime example of
Tomorfow Never Companion pieces Blood For Dracula spaghetti schlock. Knows . . . . . .
A, the more traditional and Flesh For Frankenstein, directed Finally-at the witchmg hour. comes end of the ﬁlm score by Paul Momssey under the Andy the Scottish premiere of Dane spectrum comes the work Warhol banner, feature an over-the-top Argento‘s The Srendhal Syndrome. The of Bernard Herrmann, Udo Keir as, respectively, the Italian maeétro‘s daughter Asia stars as ParthUlatl)’ his bloodsucker and the scientist. The a policewoman suffering from a rare conabora‘ions With "‘9 furore at the ﬁlms' original release condition that gives her hallucinations waster Of Suspense' . focused on their graphic violence and when she sees works of an. (Alan. PermanWitCthCk' A sex, but it's the bizarre, hyper-camp Morrison)
artnership ln Terror - ,
(Silva Screen) proves that humour that adds an extra spark when Blood I- or l)rac ula/F lesh For Hermann was one of the Viewrng them now tn these new prints. Frankenstein (2pm). Vampyr (6.! 5pm). greatest orchestrators in Carl Dreyer’s Vampyr, made in the Night Of The Living Dead/Zombie
ﬁlm history. Uneasy same year as the Universal Dracula Flesh [Eaters (8.15pm). The Stendhal undercurrents abound with Bela Lugosi, is a tremendously Syndrome (midnight). All certiﬁcate [8. from the dizzy swirl 0f Vamp!" 'dfeammte "l "S “311 image'l' poetic piece, dreamlike in its hazy Sat 2 Not: Edinburgh: F ilmhouse. Vertigo to the stabbing
shriek of Psycho.
The winner of this
Oscar. Antonia’s line COMEDY DRAMA The lilm shilts its tone lrom hilarity
(Silva Screen) also to dramatic to touching insi ht to features a Wonderful score THE EIGHTH DAY indulgent mush and back again, but by "0"“ SCkaCZ' somehow manages not to seem messy. Rimmed by the Few second movies have been as This patchwork approach brims with etropole Orchestra of . . . the Netherlands_ Like the eagerly awaited on the arthouse conlidence, while some bizarre mm itself. the music is an circuit as .laco Van Donnael’s lollow- moments ol magic realism reveal an unexpected treat that up to his inventive debut Toto le imaginative power that distinguishes captures the joy of life. Iléros. This time, however, the director the lilm lrom Hollywood counterparts Silva Screen knocks in a reverts to a tried and tested tormula - like Rain Man and suggest that hat-trick this issue with uptight man meets disabled person, Georges has his own distinctive way of “)8 doub'c,C.D,T"t’ Cu“ reassesses his lite and becomes a looking at the world. We“ 3;.“ " ‘2 Their: better person - with respected French llowever, all is lost when, in the tinal Efc'aisrgtg Uivgja use actor Daniel Auteuil and Pascal section, Van llormael resorts to the telly themes would pep up Duquenne, who has Down’s Syndrome, embarrassing, condescending cliché any party (bounce along in the lead roles. that all handicapped people are in to Hawaii 5-0 and the Workaholic businessman llarry some way touched by God. lle brassy swagger of Perry (Auteuil) has sacriliced his home lite undermines his aim, as those in the Mason) but the solo synth tor success in the ottice. One night, he audience who have come to love and ﬁxing: Eaglﬂgtyﬁc gives‘a "it, to Georges, a young man respect Georges tor himsell leel other hand m‘lk'g into with Down s Syndrome who is on the betrayed by the angelic status thrust darker [em't‘my _‘ Alien, run trom a nursing home in search ol upon him. (Alan Morrison) 200 1' 3mm". And with his mother. llarry grudgingly linds The Eighth Day (15) (Jaco Van nttt- Driver, it an comes himsell drawn into his new llormael, France, 1996) Daniel Auteuil, 4 back to Bernard companion’s adventures, but Pascal Huguenne, Miou-Miou. 114 . Hemnann in the end. Georges’s innocence and optimism mins. Subtitles. From Fri 8. Glasgow: (Alan Morrison) cast a ray ot sunshine on his dull and GFT. Edinburgh: Filmhouse. The Eighth nay: ‘blzarte moments of magic realism’
32 The List l-l4 Nov 1996