Film index

Funny Girl (1’) 0000 (William \y'ytcr. LS. 1968) Barbra Streixand. ()mar Sltarif. 151 tttitt. The perforrttartce tltat brought Streisattd superstardortt attd wort lter art ()xcar ittto tlte bargain. Young Fanny ix art ttgly ducklirtg btrt witlt a hard-nosed ambition artd a gritty deterrttittatiort to get ottt of tlte gutter artd be a star. Eventually. Ziegfeld ltirex lter for ltix rtew Follies prexentatiort artd ltcr subversive corttic style proves ltttgely popular. GET. Glasgow ; Adartt Stttitlt. Kirkcaldy. Gostord Park ( )5) 0000 (Robert Alttttart. l'S/L'K. 2001 ) Michael (iambott. Kristin Scott Thomas. Kelly Macdonald. 137 tttirt. Tlte .Agatlta ('hrixtie-exque ttturder mystery at tlte centre of (ins/int! Park is tlte least compelling part of Altman's otherw ixe firtely-obxery ed period piece. Set irt November 1932 over a few day s durittg a shooting party at tlte eporty moux country estate of Sir William Mc(’ordle ((iambon) artd Lady Sy ly ia McCordle (Scott Thomas). (ins/int! Park details tlte relationship between tlte filthy riclt ttpper claxx artd their ptrt ttport servants. Artd w ltat detail the film flcxltex ottt all 25 members of the excellent ensemble cast. alortg w itlt their individual stories. No easy trick irt two ltourx. Brtntton Theatre. Edinburgh: Pay iliort. (ialaxhielx.

Grand Canyon (1‘) (loot 1. Sitttttlatiort ride brirtgittg you the full-blown wortder of that really. really big ltole irt America. 1MA.\'. Glasgow.

The Grey Fox ( PG) (Phillip Bot'xox. Canada. 1982) Richard 1"arnxworth. Jackie Burroughs. Way rte Robson. 1 10min. Tltouglttfttl. elegiac movie. marking the transition betweett the ()1d \Vext arid the New. Bill .Mitter. art old-fashioned stagecoach robber is released frottt prison alter three decades irtto a world he barely recognises. But he quickly adapts. xw itching from stagecoachcx to steam-trains. attd xoon has the Pinkerton detectiye agency irt pursuit. A w ell-loved claxxic of (‘artadian cinema. Western expert Jim Durtrtigan w ill place The Grey Fox w itltitt the context of the Western genre itt art introductory talk attd post-film discussion. (il’l'. Glasgow; l'Tll ('irtenta. Falkit‘k.

Hans Warns: My 20th Century ( IS) (Gordian Mattgg. Germany. 1999') 105 tttirt. Serttidocumentary portrait of a man of great w anderluxt w lto sets off for xea ax a cabin boy irt 1914 artd endx up v ixitirtg (‘ltilc. ligy pt. Norway attd Spaitt. artd afterwards \L‘l'\L‘\

w lift the German .\'ayy itt World War 11 irt the South Atlarttic. Maugg weaycx together \Varrtx’ ow rt Smm footage with re-crtacted xcenex baxed on ltix diaries artd photographs to create a seamless xtudy of tltix man's experiences. kept to the xty le of early silent films. (ii-T. (ilaxgow; l'llltiltntixt‘. lidirtburglt. Harry Potter And The Philosopher’s Stone (PG) 0.... ((‘hrix (‘oluntbux. l'S/l’K. 2001) Daniel Radcliffe. Robbie ('oltrarte. Maggie Smith. Joltrt (‘lecxc. Richard Harris. Julie \Valtcrx. 152 tttirt. ('olumbttx has remained true rtot lust to the spirit bttt. irt many caxex. the letter of J.K. Rowling's novel. With only the occasional rtip attd ttick. the filrtt follow x cloxcly the tale of orphan boy Harry. w lto grow x tip irt suburbia



Lycanthrope on the prowl in Dog Soldiers

little realixing that he's of wi/ard xtock. Like the novel. the filrtt is unxerttimental. witlt no hint of icky wltitttxy. Rather. it ix sustained by a set of superbly dry perforrttartces by the all- Britixh caxt artd rewarded by the true. w ell- earrted emotion of art honourable quest xuccexxfttlly fottgltt. Selected release. Hearts In Atlantis ( 12) see (Scott Hicks. LS. 2002) Atttltorty Hopkins. Atttort Yelchirt. Hope Davis. 101 tttirt. llickx attd xcreertw riter William (ioldman (Burr/t (Unit/y .‘ll1(/ 'I'ln' Stuttlttnt't' Kiri. All The President 'y Men) have adapted Stephen King’s 50x/(t0s/70s-xet novel. homing itt on a very King concern: childhood'x end. The filrtt dexcribex the friertdxhip of three eleven-year- oldx artd a life-changing moment irt their youth - tlte appearartcc ofTed Bt'atttigan (Hopkins). a secretive though kindly titan on the rtnt frortt government agents. .\'ice perforrttartcex all round. although adaptittg

jtlsi [he lirxi third ()1. King's book ix too

modest a goal. Magrturtt Theatre. lrvine. Hotel (tbc) .0. (Mike l‘iggis. l'K/ltaly. 2002) Rhys lfanx, Saffron Burrow x. Burt

Rey ttoldx. 155 mitt. After wow irtg audiences with ltix split screen digital opus 'I'inn' (in/c. liiggix pushes the aextltetic artd narrative litttitx of cinema furtltcr forward. New features include night-y ixiort cinerttatograplty: xmaller images w itltitt the fttll frame attd a ttcw take on the traditional large single image. The principle setting ix the Hungarian Palace Hotel. There’s art eclectic range of inhabitantx. including a film crew shooting a Dogma-xty le update of John Webster‘s tragedy The /)Il(‘/l('y.\ ()f .llu/ti. w lto are itt ttrrrt being filnted by a documentary crew trying to get to grips witlt Dogma. .\'ot


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36 THE LIST ?} 1?". Lin, QC???

entirely successful. but unlike anything you've seen before. See review. Filttthouse. Edinburgh.

The House Of Mirth (PG) 0000 (Terence Davies. l'K. 2000) Gilliatt Anderson. Eric Stoltx. Atttltotty LaPaglia. 140 mitt. Davies’ superb screen adaptation of Edith Wharton's rtovel. filmed itt Glasgow, makes it clear that beneath the well-bred skirt of New York xociety at the tttrtt of the century lurks a remorselesx savagery. Socialite Lily Bart (the excellent Anderson) would appear to be a natural survivor. but through a combination of ttaivety. folly artd bad timing sltc ix brought low. Davies charts Lily's tragic descent w itlt formal rigour. frarttirtg scenes with self-consciously painterly tableaux that evoke the era's fashionable artists. But. as with ltix other work. aestltetic control goes hand itt glove with a deep cotttpassiott. Roxy. Kelso.

Housewite’s Flower (Die Blume der Haustrau) & Divlna Obsession ( 15) (Dominik \\'essely'/\'olko Kamertsky. Germany. 1998/1999) 92/27 rttitt. Much itt the style of a T\' doctt-soap. thix satirical film chronicles the movements of a team of vacuunt cleaner salesmen around Stuttgart as they employ their charm attd clever selling techniques to housewives. attd ttever stoops to the levei of ridicule. Aw ard-winning sltort Divinu ()ltsvtsiun parodies artd undermines the didactic nature ofjournalistic docurtterttaries. and takes France‘s numeroUs roundabouts as its subject. GET. Glasgow. Human Body (L') (2001 ). Simulation ride bringing you the full-blown wortder of all those really. really srttall places inside trs. lMAX. (ilasgow'.

I Am Sam ( l2) .O. (Jessie Nelson. LS. 2002) Sean Penn. Michelle Pfeiffer. Dakota Fanning. 132 tttirt. Pettrt plays Sam Dawson. a cleaner at Starbucks with the mental age of a child. who is left to raise ltis daughter. Lucy (Fanning) by ltirttself when the mother dexertx them botlt after the birth. However. when Ltrcy starts to xurpass Sam itt her mental abilities. the authorities step itt attd Sam tttrtts to brittle lawyer Rita Harrison (l’feiffer) lit a bid to gain custody. Penn's performance is undeniably show-y. btit nonetheless imprexxive (he received ltix third ()scar nomination for it). There's good support too. bttt the film's defirtitely rttartipulative. lt'x also extrerttely ftrrtrty itt places attd features a xuperbly integrated soundtrack of Beatles coverx. See review. Selected release.

Ice Age (1') O. ((‘hrix Wedge ck ('arlox Saldartha. LS. 2002) \'oicex of John Legttizttrtto. (lorart Vixrt‘iic. Jack Black. 81 mitt. There‘s a fairtt air of cynictsrtt irt tltix story of a ntoroxe tttatttrttotlt. a bumbling xloth artd a wily tiger w ho join forces. despite all their better irtstirtctx. to return a huntart baby

to his father. As the planet gets colder. they head in the opposite direction of the anitttal tttigration. to battle snow'drifts. volcanoes. ice caves artd predators. eventually delivering their charge. The anintators try desperately to make you fall in love with this unlikely battd of creatures. to make you see the good hearts berteath the frosty exteriors. but they don't deliver that all important charrtt. wit. flair artd imagination. General release.

If . . . (15).... (Lindsay Anderson. CK. 1968) Malcolm McDowell. Arthur Low-e. 1 l 1 ntin. ()n the face of it. the story of a student-led rebellion in art English public school might be taken as a metaphor for the profound social change that had gone on in the 60s. There are elements lit the public school that suggest Harold Wilson's grammar school meritocrat generation. btrt there's a rttuch broader attack on bourgeois values going on. attd the relevance of the piece to today’s political culture is entirely unditttirtished. If. . . is also notable for its narratiortal experiment with flashback. monochrome and inversion of the audience's rational expectation (at times characters die. then return to life). Add to that an outstanding performance by Malcolm McDowell. and it‘s a cult classic. L'GC Rertfrew Street. Glasgow. In The Bedroom ( 15) oooo (Todd Field. LS. 2001) Sissy Spacek. Tottt Wilkinson. Marisa Torttei. 130 rttirt. Inspired by Andre Dubus' short story Killings. In The B(’(/I'()()II1 is an exceptional debut feature frottt actor-turned-filmmaker Todd Field. It examines. with great sensitivity attd insight. the aftermath of art unexpected bereavement when the sort of Matt and Ruth Fowler (Wilkinson and Spacek) is rtturdered. Stylistic indulgertces are prudently kept at bay. artd it‘s also blessed with a series of expertly calibrated perforrttartces. not least front Wilkinson and Spacek. And there's no clear- cut closure or cheap redemption. Adattt Smith. Kirkcaldy.

In The Company Of Men (18) oooo (Neil LaBute. LS. 1996) Aaron Eckhart. Matt Molloy. Stacy Edwards. 97 tttitt. The ntisatttltropy of American commerce is right tip there on screen. fifty feet ltigh. as (‘had and Howard plan to date the same vulnerable woman artd dutttp her without warning. lt's corporate America‘s strongest-will-survive ethos which is the real target itt this powerful independent that's full of sucker punches. Filmhouse. Edinburgh.

Into The Deep (L') (LS. 200) ). 3D MAX presentation. lMAX. Glasgow.

Iris ( 15) 0... (Richard Eyre. L'K. 2001) Judi Dertch. Kate Wittslet. Jittt Broadbertt. 90 rttirt. The love story of two of this cettttrry 's rttost significant writer-academics. Iris Murdoch artd Joltn Bayley. is lovirtgly created frortt Bayley's recent memoirs. 1t ultitttately plots Murdoch's descent into the agortising fog of Alzheimer‘s. but is inter-cut with scenes of the early. terttative love between these two ()xford starlets. Although the later years are tttore involving than the early ones. the two narratives switch with deft slickrtess. Take tissues. you might need a few. Arts Centre. East Kilbride; .\'ew Picture House. St Andrews.

Italian For Beginners ( IS) (Lotte Scherfig. 1taly. 2001 ) l 12 tttirt. Preview screening of the first outright comedy front the Dognte scltool of lilrttrttakittg. Six (‘openhagert-ites fall irt love with one another artd cross the barriers of class. temperament. even lartgttage. Think Mike Leigh crossed with Lars vott Trier. if that‘s possible. Selected release.

Jimmy Neutron: Boy Genius (t’) .0. (John A. Davis. 2002) Voices of Debi Derryberry. Megan (‘avanauglr Patrick Stewart. 82 tttitt. Jitttttty Isaac .\'eutron's inventions oftert cause tttore problems than they solve. so when he contacts an ultra- irttelligertt alien life forttt. the boy genius sets off a chain of evertts that lead to the Yokiartx - intagirte art egg w itlt a see-through shell attd greert yolks - kidrtappittg all of the parents itt Retroville. So Jimmy leads art expeditiort of fellow 1950s retro-sly led classmates irtto space to rescue their parents. As is the rtornt since My Story. .liinnrv .Vt’tm‘un ix packed with pop-references. bttt lacks sufficient sophistication to appeal to adults. Selected