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FILM INDEX continued
Chocolat (15) **** (Claire Denis, France, 1988) Mireille Perrier, Isaach de Bankole, Giulia Boschi, Francois Cluzet. 105 mins. Returning to the remote part of the Cameroons where she spent her childhood, the daughter of a colonial civil servant recalls scenes from those early years, including the attraction between her mother and their native manscrvant. This accomplished debut feature is a nostalgic and gentle mosaic of colonial life, offering a perceptive look at the Europeans‘ varying attitudes towards the Africans. Cameo, Edinburgh.
Cinema Paradiso (PG) **** (Giuseppe Tomatore, ltaly/France, 1988) Phillipe Noiret, Jacques Penin, Salvatore Cascio. 123 mins. Told largely in flashback, the winner of the 1990 Oscar for Best Foreign Film traces young Salvatore's infatuation with his village cinema, and his growing friendship with its projectionist (played to perfection by Noiret). Essentially, it’s Tornatore's lament for the joyous movie- going experience of his youth and a recognition of the price we pay for our maturity. Lumiere, Edinburgh.
A Clockwork Orange (18) their (Stanley Kubrick, UK, 1971) Malcolm McDowell, Patrick Magee, Warren Clarke. 137 mins. The night of ‘ultra-violence' committed by Alex (McDowell) and his gang of ‘droogs’ gives it its notoriety. But subsequent victimisation by the State still provides much food for thought. This fable of law and disorder, crime and punishment might easily be recast in 21st century Britain. So, it's about time the British public got to see the late master's most infamous film. UGC, Edinburgh.
The Color Of Paradise (PG) theme (Majid Majidi, Iran, 2000) Mohsen Ramezani, Hosein Mahjoob, Salameh Feyzi. 88 mins. The widowed father of blind young Mohammad picks him up from school for the summer break, and takes him back to their beautiful mountainous village. But no sooner are they home and the father wants to off-load the boy onto a blind carpenter. The father reckons having a blind son will ruin his own chances of marrying into an upmarket Islamic family. The story really is secondary — it's as an essay on the sounds and sights of nature that Majidi’s film hits home. FTH, Falkirk: FTH.
Coyote Ugly (12) ** (David McNally, US, 2000) Maria Bello, Piper Perabo, John Goodman. 101 mins. Presumably the high concept pitch for this latest slice of wish fulfilment was ‘Flashdance meets Cocktail'. The title refers to a New York drinking spot, where the drop-dead gorgeous (female) bartenders dance suggestively on the bar and pour shots down the customers' throats. The latest recruit to this ‘lively' environment is young Violet (Perabo), a girl from New Jersey who dreams of making it in the Big Apple as a singer-songwriter. Ignore the claims that this is a tale of female empowerment: the film is a tease, titillating its male viewers with its images of midriff- baring babes in halter tops and tight leather trousers, before retreating behind its 12 certificate. See review. General release. Cuba on TV (the) Stereotypical images of Cuba are exploded in this documentary that gives Cubans a chance to comment on both their own and British television. Part of the Si Cuba! season. Gl-‘T, Glasgow.
Dancer In The Dark (15) **** (Lars von Trier, Dcnmark/Sweden/Germany/France, 2000) Bjork, Catherine Denucve. David Morse. 137 mins. Having founded the Dogme school of back-to-basics filmmaking, von Trier’s now turned his back on it with this digitally-shot homage to the Hollywood musical. Set in 60s America, it’s the story of Czech immigrant Selma (played by Bjork, whose extraordinary performance takes naturalism to its extreme), a single mother
whose only escape from her dreary factory
work life are her daydreams which transport
her into a Hollywood-style musical. As with : Breaking The Il'uves. the drama revolves
around a naOve young woman who
becomes the victim of circumstance, and the ensuing protracted tragedy gives the film
astonishing emotional clout. (.‘ameo, Edinburgh.
December 1-31 (15) (Jan Peters, Germany, 1999) 97 mins. A founder member of ‘mobile cinema’, Peters shot a three minute Super 8 reel each day of the month of December and edited them together creating an experimental film diary. Part of the Zeitgeist: New German Documentary season. GET, Glasgow. Filmhouse, Edinburgh.
Dinosaur (PG) tit (Eric Leighton, Ralph Zondag, US, 2000) Voices of: DE. Sweeney, Julianna Margulies, Joan Plowright. 82 mins. This latest computer animated offering from Disney follows the journey of Aladar the lguanadon as he flees across the meteor-ravished wasteland of prehistoric Earth alone after being separated from his family. Initially, the excitement is contagious; the CGl scenes are so realistic it’s not that hard to believe what you are watching could be real. Then tragedy strikes; the lemurs talk. And talk. Yet as the predictable and, ultimately, boring storyline of Dinosaur unfolds, that winning Disney formula is guaranteed to keep any dinosaur crazy four-year-old pinned to his or her seat without scaring them too much. General release.
Dolphins (U) The producers of the most successful IMAX movie ever, Everest, take us undersea into the aquatic home of dolphins. With narration by Pierce Brosnan and music by Sting. IMAX, Glasgow. Drole de Felix (the) tit (Olivier Ducastel, Jacques Martineau, France, 2000) Sami Bouajila, Ariane Ascaride, Pierre-Loop Rajot. 97 mins. A likeable gay-themed road movie about a guy, Felix (Sami Bouajila), travelling from Normandy to Marseille in search of his father, Drole De Felix is in essence a rite of passage. Dutifully structuring the film around life lessons learned through encounters on the road, the directors' episodic story provides Felix with a kind of family in dribs and drabs. But though the film's tone is generally cosy, it also incorporates the risque and the political. See review. Filmhouse, Edinburgh.
Easy Rider (18) **** (Dennis Hopper, US, 1969) Peter Fonda, Dennis Hopper, Jack Nicholson. 94 mins. Archetypal road movie in which two dope-loving bikers travel the highways and by-ways ofAmerica at the butt end of the 605. Cult attraction with a freewheeling feel and a melancholy downbeat ending. Nicholson also steals the show as a boozy lawyer persuaded to join up for the trip. Filmhouse, Edinburgh.
Emma (U) think (Douglas McGrath, UK/US, 1996) Gwyneth Paltrow, Jeremy Northam, Toni Collette. 111 mins. Austen- itis continues as Emma Woodhouse (Paltrow) meddles in other people's love lives while ignoring the fact that her own happiness is right under her nose in the shape of handsome Mr Knightley (Northam). An attractive and luscious- looking piece, but a lot has been sacrificed for reasons of length, leaving fans of the book wishing for those six-part TV
5 adaptations. Odeon, Glasgow.
Eraserhead (18) **** (David Lynch, US, 1976) John Nance. 90 mins. You may never eat jelly babies again after the repellent but compelling tale of Henry, his haircut, his girlfriend, his strange offspring and a sizeable quantity of pus. Lynch's
debut is the stuff of cult filmmaking, some would call it seminal. Disturbing and
mercifully filmed in black and white. Cameo, Edinburgh.
Erin Brockovich (15) **** (Steven Soderbergh, US, 2000) Julia Roberts, Albert Finney, Aaron Eckhart. 133 mins. Unemployed single mother Erin (Roberts) shoehorns her way into a filing clerk position with Finney‘s California law firm. There she accidentally uncovers a conspiracy to conceal the poisoning of the local community, which leads to the largest direct action lawsuit in American history. This might sound like a cliched John Grisham thriller, but it's based on a true story and Soderbergh's direction and Roberts' performance are faultless -
together they prove that mainstream
1 American cinema can be something truly
: great. Odeon, Kilmarnock.
f Festen (15) **** (Thomas Vinterberg,
Germany, 1998) 106 mins. Made under the banner of DOGME 95, a chief dictum of which filmie manifesto is that the inner lives