Very stylish girl Audrey Hepburn continues to amaze stiff-collared George Peppard on the 40th anniversary re-release of the classic Breakfast At Tiffany’s
Wh} does a touled up drug deal go do“ ii in
his apartment buildiiig'.’ So that \x e get a bit of
action in. that‘s \\ h). This is a two-header character piece; had Schuiiiacker lel't it that \sa} ll might ha\e h\ed up to its title. l’l‘ll ('mema. l‘alkirk.
Flick 1 lh’i tl‘mton (‘oiiiioll}. Ireland. 2000) 38 mins. A iiiiddIe-class l\\L‘tll) something leads the lite ol a slacker until his girlfriend dumps him and he meets a (ieriitan \Hittlttti \ isitiiig l)ub|m. Rel’i'esliiiigl) non-()irish cinema. l’art ol the Irish liilm l‘estixal Lumiere. lidinburgh. The General t ISi tttt tJohii Boot-titan. l'K. I‘Nh'i Brendan (ileeson. Adrian Dunbar. Jon Voight. |2~l mms. ('ontrmers} and ambiguit} surrounds the stor} ol one of Ireland's most notorious gangsters. Martin (’ahill. ()1) “MC lttltitl. he's ti Robin Hood ligure u ho shares ottt the spoils ot' his thelt; on the other. he is \ ieious. brutal and amoral. (ileeson's pertoi'iiiance is compelling. \shile the black and \\ hite photograph} hardens the edges ol‘ the Irish landscape b) making \er) simple things stark and beautil'ul. Lumiere. lidinburgh.
Ghost Beirut (Beyrouth Phantome) t ISi t(ihassaii Salliab. Lebanon. 1098) I 17 mins. A soldier returns to his lamil) in the Lebanon racked \\ ith despair o\ er his role in the \\ar. l’art ol ('iiiemamed Arab Mediterranean l‘ilm l"c'sti\;il. l‘iliiihouse. lidinbui‘gh.
The Golden Bowl ( l2i *tt iJames [\or}. l'K/l'S. 3000) Nick .\'olte. Kate Beckinsale. l'ma 'l’hurman. Jereiii) Northam. miiis. 'l'he Merchant-hot) team's polished adaptatioti ol' llL‘lit') James's 'l'lie (hilt/en Him-l pits innocence (Notle‘s \\ idon ed American billionaire and his daughter. Beckinsalei against e\perieiice t.\'ortham‘s impmerished ltahaii aristocrat l’rmce Amerigo atid his illicit lmer. Maggie's norldl} t'riend. 'l‘hurmaiii. Rtitli l’ran er Jhab\ala's script smooths otit the teasing. irreducible ambiguit) ol'James's nriting. linough remains, hon ex er. of the book's elegatit eoii\oluttons ot’ betra}al and guilt. jealous} and suspicion to make this a ctit abox e the
a\ erage trock Hick. l’l‘H Cinema. lialkirk. Goldfinger tl’(it **** ((Eu} Hamilton. l'K. I‘m-ti Sean ('onner). Honor Blackmail. (iert l-‘robe. 1 l2 mins. The one \\ ith l’tiss) (ialore. ()dd Job. Shirle) Basse)‘ belting it out. Shirle} liatoii co\ered in gold and a
few drinkle nice meal. Great sex. What more could you want from a night out?
Take a trip to the Tron and a have a drink at the bar. Check out our fantastic pre—theatre menu. And be seduced by Suspect Culture’s Casanova. Running until 3rd March. It’s Just what you want for afters. Box Office 0141552 4267.
t} picall} mer-the-top plot as mad Auric plans to break into l'ort Knox. Much better on the big screen. \slien it doesn‘t ha\ e to be eramtiied into the 'l‘\' trame. .\'e\\ l’icture Home. 5! Andre“ s. The Grinch tl’(ii *ir'k tRon llt\\\;tl‘tl. LS. 2000) Jim (’arre). 'l‘a} lor Momsen. Jet'lre} 'l‘aiiibor. lll5 mins. Surprisiiigl). 'I'lie (irmt-li is the lirst h\e action l'eature to be adapted l'rom the \\ot'k ol' the \sorld's best-selling children's author. Dr Seuss. And beneath st'\ magician Rick Baker‘s green costume ('arre} the \sorld's highest paid comedian \\ reeks glorious ha\oc on his clo} mg sxseet neighbours. the \Vhox ians ot' Who-x ille. llo\\at'd la) s the book‘s moral (‘hristmas is about lamin not presents and the sickl} — sueet sentiment on prett) thick. ‘lin Shirt 3 got the cross generational appeal right; goll} gosh Hoisard‘s (irmi'li hasn't. ('arre} ‘s great llttitlglt. Selected t'L‘lL‘ttsc. Hannibal t lts’i *‘ktt tRidIe} Scott. l'S. ltltll iAiithon} Hopkins. Julianne Moore. (itlt’) ()ldman. l3! mins. The l'olloxs-up to I‘Nl 's The Silence ()I"I‘/it'l.ttnili\ places l)r Hannibal Lecter 1 Hopkins gleet'ull} reprising his ()scat‘-\\ inning rolei centre stage and makes the predator the pre} as the ‘retired' cannibal killer is hunted donn in lilorence b) his oiil) sur\ ix ing but hideousl} disligured \ ietim. the millionaire Mason Verger ta superb. uncredited and unrecognisable ()Idmani. \'c‘i‘gc‘t"s manhunt alerts ('larice Starling (Moore replacing Jodie l‘osteri. \\ hose l‘lil career continues to be hampered b) male prejudice. to Lecter's \\ hereabouts. Though there are detours l‘rom the noxel. most notabl} the extraordinar} ending. here made more palatable l'or cinema audiences. the perlormaiiccs. pacing and cinematograph) are llaxs less. And though it's a com entional thriller rather than a chiller. it's still a heart) slice ot‘ modern (iothic. See feature and reriexs. (ieiieral release. Harry, He's Here To Help t lb’l *tit tl)ominik Moll. l‘rance. 2000i Sergi LopeI. Laurent Lucas. Mathilde Seigner. Sophie (iuillemin. ll7 mins. Harassed )oung married couple Michel tLucasi and ('laire tSeigner) are en route to renmate their summer holida} home \\ ith their three demanding children \\ hen Michel bumps into Harr} (Lopel i. an old school acquaintance.
Ha\ mg imich himselt to dinner. Haii} re\eals his motto a solution to exer) problem and proiiiptl} goes to \soik Moll‘s \\ ell cratted blend ot suspense and iiiischie\ous humoui. assured pacing and line set pieces Iiiot to mention an opening credit sequence Saul Bass \tould be proud oli places the tilm tip there \\ ith Highsmith and Hitchcock. l’l'H Cinema. l-alkirk
The House Of Mirth tl)(il *ttt t'l'ei‘encc l)a\ ies. LK. :lllllll (iilhan Anderson. lzric Stolt/. Anthon} Lal’aglia l-ltl niins. l)a\ ies' superb screen adaptation ol Ldith \\ h.ii‘toti\ iio\el. tilmed in (ilasgtm. makes it clear that beneath the
\\ ell-bred skin ol \eu York societ} at the turn ot the centur} lurks a reiiiorseless s.i\.igc‘t'}. Socialite l.ll_\ Bait tthe e\celleiit .-\tidersoni uould appear to be a natural surx nor. btit throtigli a combination ol iiaixet}. t'o|l_\ and bad timing she is brought lo\\. l)a\ ies charts l.ll_\ ‘s tragic descent \\ ith tormal rigour. training scenes \\ ttli sell- consciousl} paiiiterl} tableaus that e\oke the era‘s tashioiiable artists. But. as \\ ith his other work. aesthetic control goes hand in glo\ e \\ ith a deep compassion. Brunton 'l‘heatre. lidinburgh.
In The Mood For Love t t’( i) t it t * t\\'ong Kat-\Vai. Hoiig Kong. Juno. Maggie ('hcung. long Lcung. 9" mms. In Kai-Wars iie\s lilm. set in (ills Hong Kong. ati adulterous romance is happening elseuheie between the hitsband ol secretar} ('heung aitd the \\ il'e ol Letmg‘s journalist. Kar-\\'ai‘s interest lies \\ itli the cuckolded. and the \sa} that something e\ctt more intense. personal and loi'tuitous de\e|ops otit ol' their shared 'adulteree' status. With .\'at Kiiig (‘ole on the soundtrack. regular (‘hris Do) Ie behind the caiiiei'a and beguiling \sardrobe design. Kai'- \\'ai ol'l'ers a seductne surlace te\ture that's undercut b_\ the director's trademark eiiiphasts ol the accidental o\ er the clearl) intentional. Subtl} stunning lilmiiiakiiig. Selected release.
In The Shadows Of The City (Taif al- Madina) tno certi tJean Khalil ('hamoun. l.ebaiitiii/l'rance. Itltltli ltlt) units. A
harrou mg and dramatic recap ol the co ll “at in the Lebanon. l’art ol' (‘memaiiied Arab Mediterranean l‘ilm l‘estnal. l'iliiihouse. lidinburgh.
Journalists (Les Diseurs de Verite) 1 1m (Karim 'l‘raida. Netherlands. Zoom 75 mms. An Algerian journalist is urged to seek political as) ltiiii iii the Netherlands. l’ai't ol ('ineiiiamed Arab Mediterranean l‘ilm l‘esti\al. l-‘iliiihouse. lidinburgh.
Kateb Yacine, Love And Revolution it’( it tKamel l)ehane. Algeria. 1087i (Tl) itiiiis. Biopic ol‘ the tamous Algerian \\ riter and acti\ ist. l’art ol' ('ineiiiained Arab Mediterranean l‘ilm l‘t‘sliHIL l‘iliiihouse. lidinburgh.
Kids Return t l.s’i *ttt i't‘akc-shi Kitalio. Japan. mum Masaiiobu Ando. Ken Kaneko. Leo Moriitioto. l()7 iiiiiis. ’l‘no high-school pals start out b) e\torting pocket mone} ll‘tittt their classitiates. btit soon drtlt into the boxing ring and lhrt \\ ith the iiialigii outskirts of _\aku/a acti\ I!) all \sa} stations on the road to no“ here in particular. Shot in blue- gre) tones \\ ith an unobtrusixe camera. the film's slight lack of mouth e momentum is balanced b) perlormaiiccs that ring true all round. (iilmorehill( i l 2. (ilasgtm.
index FILM
Kiss Me Kate .t I at i t * iticoige .s‘ianes. LS. I‘lF‘I Kttlltht (ita) son. Honard Keel. -\nn Millet 1H" mins l)ia\\ing paiallels betneen a musical production ot I'itt litmme (It [in Sir/i n atid e\eiits in the pmate lite ot' the cast. this dehghtlul \l(i\l pioduction
\\ ith plent} ot song atid dance \\.itch Millet \[UP the shins \\ ith ' loo Haiti Hot' Brunton lheatie. l-dmbuigh
Liam I IS. tit is'tc-phen t-reais. LK. :ooIi lan Hart. \nthon) Hotious. ('latie llackelt M imiis \lade b) l‘lc‘dh on a roll altei Hie/i Ito". {in and /.t1.",\a't . [Iii/’1 oltcis a child's e_\c perspectn e on gum mg up iii po\ert_\ in ('atholic |.i\eipool in the l‘Wls. b) telling e\etits tiom the \ iexspoint ot its se\en<'\ear old title character iHoiio\\si Despite some line perlormaiiccs. this HHC production ttt'\c't qtlllc' \ltdlst‘s till lls lk'lL'\ l\ltlll tlldllld sensibilit} .limm} \lctimein's screenpla) certain|_\ loads the dramatic dice. \thilst the ('atholie ('hurch is iathei piedictabl) caricatured loi comic ellect. 'l'he \ istial st_\le is unremarkable. iie\erthe|ess it's a commendable e\ample ol lou ke_\ Hritish liliiiiiiakitig. See re\ ieu (il’l’. (ilasgon.
The Little Vampire M» iii ll ll t-del. l'K. ZtNNli Rollo \\eeks. Richard l: (irant. Jotiatliaii Lipmcki 05 mm loll} tl.ipnickil. li'esh [tom the orange gio\ es ot ('alitorma. mox es \kllll his tamil} to beaittitul Scotland. He quick!) becomes the most unpopular kid iii his class. but tinds .i pla} mate \kltt‘ll a teii— _\eai-old \ampne com enieiitl} talls dossn his chiiiine). ('an ion) iom m the quest lot the missing amulet and help the langed Rudolph and his lami|_\ become human ’ Despite its lloll_\\\ood ie-\amp. Angela Soiiimet- Hodenbuig's \\ ell lti\ ed iio\ e| eiiieiges \\ ith its sense ol tun intact Hon e\ er. \\ hile this lilm cei'taiiil} doesn't suck. ultimatel}. it lacks t'eai lillc. Selected l'c'lt‘tht‘.
Long Shots 1 |.\'i t\'artous. l'K. lelll l Student l‘lllll l‘L‘\ll\;tl ol short iiiox ies. (iiliiioi'ehtllt i l 2. (ilasgim.
A Man For All seaSOHStl’Ul *ttt it-rt-a /lllllc‘llt;tllll. l'K. Now Paul Scolield. \Vend} Hiller. Robert Sha“. Orson Welles Ill) miiis. l’ei‘l'ect lilm ol Robert Holt'\ l‘la} about 'l‘homas Molds conthct \silh Henr} VIII. The King. iequtrmg a dixorce. asks More's support iii breaking \s ith Rome and toriiiiiig the ('hui'ch ()t' Litglaiid. Superb perlortiiances and \ l\ id atmospheie make this a north} ()scar \\ iiiner lor /.iiiiieiiiann. Holt and Scolield. though Shau 's Henr} and \Velles' ('ai'dinal \Volse} are equall) memorable. The Bathgate Regal. Hathgate. The Man Who Cried t I3» tit tSttll} l’ottet'. l'S/l 'K. loom ('hristma Ricci. Johnii} l)epp. (‘ate lilanchett. John 'l‘tirtiirro. 9‘) mins. l’otter's lirst narratne him since I‘Nl’s ()r/iuu/o is the slot} or an orphan tRicci i. a Russian Jen adrilt iti lzurope at the outbreak oi World War II. attempting to get to America to be re-united u ith her long lost lather. It's also about language and the unnersalit} ol song. ()h. and it's a musical. though not in the (iolden Age llollysood sense. The casting is caiin} and the perlormaiiccs impress. but l’otter isn‘t quite able to condense all ol her ideas into the lilm's running time. Adam Smith 'l‘heatre. Kll'kc‘tlltl}.
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‘iS Feb—t Mar 2001 THE “ST 37