FILM index
FILM INDEX continued
If (18) (Lindsay Anderson, UK, 1968) Malcolm McDowell, David Wood, Richard Warwick. 111 mins. The kids are alright as anarchy and rebellion erupt with all the passion of an explosion at a stuffy English public school. Symbolic, allegorical stuff about the breakdown of society which didn’t seem that far off twenty years ago. The final moment of machine-gun fire at prize day is not too dissimilar to contemporary events in Paris. Edinburgh: Filmhouse.
In The Realm Of The Senses Ai No Corrida ( 18) (Nagisa Oshima, Japan, 1976) Tatsuya Fuji, Eiko Matsuda. 105 mins. At last deemed fit for certification, Oshima’s shockingly erotic film can now be publicly screened. In the militarist Japan of 1936, a couple enclose themselves in their own sensual world, their passion escalating until only death can provide the next orgasm. Masterly though necessarily extremely explicit look at the power of sexual arousal, which has attracted controversy throughout the world. Edinburgh: Filmhouse.
Jean De Florette (PG) (Claude Berri, France, 1986) Gerard Depardieu, Yves Montand, Daniel Auteuil. 12] mins. Provence, during the 19205. Depardieu's indomitable hunchback struggles against impossible odds to make a success of his inherited farmland, unaware that his neighbours are plotting to drive him from his land. Beautifully photographed, with flawless performances, this is a towering tribute to the highest aspirations of French storytelling. A BAFTA winner for the film of the year. Falkirk: FI'H Cinema. Kirkcaldy: Adam Smith.
John Carpenter's Vampires (18) (John Carpenter, US, 1999) James Woods, Thomas lan Griffith, Sheryl Lee. 107 mins. Based on the novel Vampire$ by John Steakley, it pitches the obsessive mercenary Jack Crow (Woods) and his Vatican-backed band of vampire Slayers against Valek (Griffith), a 600-year-old blood-sucker. This Vampire Western feels like a throwback to the bad old days of 19705 gore movies, it wastes
Carpenter’s directing skills and Woods’ considerable acting talent on a pedestrian plot littered with gratuitous female nudity and repellent violence against women. See review. Glasgow: Odeon City Centre, Odeon at the Quay. Edinburgh: UCI. East Kilbride: UCI.
Kes (PG) (Ken Loach, UK, 1969) David Bradley, Lynne Perrie, Colin Welland, Brian Glover. 109 mins. In the run-down industrial north, a young boy learns some harsh lessons about life from the fate of his pet bird. Classic piece of British realism which showed that Loaeh’s television work could transfer to the big screen. A very humane sense of humour leavens what is in effect a tale of some desolation. Edinburgh: Cameo. The King And I (U) (Richard Rich, US, 1999) Ian Richardson, Miranda Richardson, Martin Vrdnovie. 87 mins. Animated version of the true story of Anna Leonowens and her experiences as a teacher for the royal family in 19th Century Siam. Great songs by Rodgers and Hammerstein and, being animated, the facility for more active roles to be taken by talking elephants, sentimental chimps and proud panthers. It’s a cracking ride. Edinburgh: ABC. Ayr: Odeon. Kilmamock: Odeon.
Koyaanisqatsi (U) (Godfrey Reggio, US, 1983) 87 mins. Philip Glass’ soundtrack and Ron Fricke’s cinematography are the twin pillars of the narrative voice in this first film of Reggio’s ‘qatsi’ trilogy. It opens with a single deep red word, some archaic cave drawings and a mournful hum. All of which represents our collective ‘life out of balance’, a translation from the Hopi Indian word ‘koyaanasqatsi’. Perfect filmmaking in harmony with all its creative elements. Edinburgh: Filmhouse.
The Last Days (PG) (James Moll, US, 1999) 87 mins. Any Holocaust documentary is inevitably a footnote to Shoah, Claude Lanzmann’s exhaustive 1986 study of guilt and the process of remembering. Still, this Oscar-winning first release from Steven Spielberg’s Shoah Foundation adds a further chapter to the dossier of testimonies; that of the Hungarian Jews, who were amongst the
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Airplane! antics: Billy Bob Thornton in Pushing Tin
last to be rounded up by the Nazis and taken to the camps. Edinburgh: Cameo.
Last Night (15) (Don McKellar, Canada, 1999) Don McKellar, Sandra Oh, David Cronenberg. 94 mins. There are six hours left until the world ends, but there’s no Bruce Willis blasting asteroids here: Last Night is about real people experiencing real emotions. As their particular brand of anger, grief, wonder or frustration works its way towards a resolution, each character fulfils his or her dream in an against-the-clock scenario. Stirling: MacRobert.
Last Tango in Paris (18) (Bernardo Bertolucci, France/Italy, 1973) Marlon Brando, Maria Schneider. 130 mins. A young Parisienne meets a middle-aged man with whom she develops an increasingly violent and purely sexual relationship. One of the key films of its decade, Bertolucci’s powerful drama is a meditation on the expression and communication of personal identity through intense sexual contact. Edinburgh: Filmhouse.
Logan's Run (PG) (Michael Anderson, US, 1976) Michael York, Jenny Agutter, Richard Jordan. 118 mins. This future world is a perfect utopia of everlasting youth, until, that is, its inhabitants reach 30 years of age at which point they are terminated in a bizarre ritual. When people attempt to escape their fate Logan’s and his security guards search and destroy. But when Logan (York) finds love with Agutter, he also finds himself on the run. Great sci-fi ideas, shame about the Hollywood treatment. Edinburgh: Filmhouse.
Lola 8: Bilidiltid (18) (Kutlug Ataman, Germany, 1998) 91 mins. Escaping the confines of his family, seventeen-year-old Murat flees to Berlin’s underground gay subculture and discovers the brother he never knew, transvestite performer bola. More than a ‘coming out’ story, Kutlug Ataman’s film is further evidence of a Turkish mini-movement that’s growing inside contemporary German cinema. Young Murat’s alienation is two-fold: he’s German- born to an immigrant family and gay in an aggressively heterosexual world. Glasgow: GFT
Lolita (18) (Adrian Lyne, US, 1995) Jeremy Irons, Dominique Swain, Melanie Griffith. 137 mins. European academic Humbert Humbert (Irons) lusts after Lolita (Swain), the underage daughter of his landlady, and begins a paedophile afiair with her. Lyne establishes Lolita 's childishness and turns her into a sex object, but also explicitly shows the cost of the illicit relationship. The sex scenes are handled with a degree of
restraint, although the film affords more sympathy to the anguish of the adult abuser rather than the pain of the child victim. Edinburgh: Filmhouse.
The Long Good Friday (18) (John McKenzie, UK, 1980) Bob Hoskins, Helen Mirren, Pierce Brosnan. 114 mins. A meaty, violent underworld thriller with Hoskins memorable as vigorous gangland boss Harry Shand, watching his empire crumble under an IRA campaign of terror. Edinburgh: Filmhouse.
Lucie Aubrac (12) (Claude Berri, France, 1997) Carole Bouquet, Daniel Auteuil. 115 mins. Based on the real-life story of a Resistance fighter who rescued her husband from the clutches of the Gestapo, Berri’s film is a tale of quiet heroism in a tempestuous time, of love on the edge. It could possibly use a few more dramatic thrills to give it some pace, but as a picture of occupied France where the over-riding emotion among the people was a desire to get their ordinary lives back, LucieAubrac is a gentle and touching success. Edinburgh: Lumiere.
Mad Cows (15) (Sara Sugarman, UK, 1999) Anna Friel, Joanna Lumley, Greg Wise. 90 mins. This adaptation of Kathy Lette’s novel wishes to be funny and perhaps even feminist, but fails to be much more than cynical. The plot concerns an Aussie single mum (Friel) and her attempts to make her ex (Greg Wise) take some responsibility for their six-week-old baby. She's supported, if that’s the word, by Gillian (Lumley), a woman in search of men’s credit cards. They adventure through the prison system, a posh party and a few brawls . . . and the gals come up trumps. See review. Glasgow: Odeon at the Quay, UCl Clydebank. Edinburgh: ABC Multiplex, UCI. East Kilbride: UCl.
Manon Des Sources (PG) (Claude Berri, France/Italy, 1986) Yves Montand, Daniel Auteuil, Emmanuelle Beart. 114 mins. Ten years after the demise of Jean de Florette, the Soubeyrans run a prosperous carnation farm. Steering this epic rural saga towards the realms of Greek tragedy, this is a full and satisfying second half that explores the suffering of the guilty as they pay a crippling penance for man’s greed and envy. Auteuil assumes Depardieu’s mantle in his development from glaikit idiot to broken- hearted suitor. Kirkcaldy: Adam Smith. Marnie (18) (Alfred Hitchcock, US, 1964) Tippi Hedren, Sean Connery, Diane Baker. 120 mins. Hedren (in a role intended for Grace Kelly) is the glacial blonde heroine in this most florid of Hitchcock’s