existentialqu parable about the need to
forge one\ on n identity and the alienation
itezin bring. Intenxe itn(i\l}ll\h. [{(hnburgh: Cameo. Filinhouxe
I Salome‘s Last Dance( 13) 1 Ken Rll\\L‘”. l 'K. 1087) (ilendu luekxon. Strultord .lohn\. \iekol;t\ ( imee. Imogen Militix-Seoll, b“) mtnx See eaptmn re\ re“ (ilthgou; (it’l-
I Salsa ( P( i ) ( Bou/ 1);“ liiuiil. l 8.1955) Robb) Rom. Rodne) Il.it'\e\.,\1ug;ilt Alturmlo Wmmx. B} «1.13. RttolRobbi Roxgr ) ix :1 hardworking tneehunte. bx night the hip \u l\ L‘Hli‘li: king oi the (Lineetloot
u ho theumx o1 nothing: more than “inning the title King”! Sulxu Bargain b.t\enient (htnee illlhielll that herb and AMH'iH\\\ ll\ llhplrilllltll“0111;!lllllllltlllh‘ttlCtll'llL‘land better \ource\ toereute another helpingoi factory production line fodder (iluxgtm: (‘zmnon ( ~Iarkxton thld. ( ‘unnon Siluehiehull Street
I Scotland Al The Cinema l i’( .1 Ilium: orientated programme oi xhort lllllh tneludex Semi ( lumen '\ I' tint/nu ell .inti unolheroltetinu tromthreetot \1urt.n (irtgor, \Itu‘Amrm/t. prolihnethe tnfluentml dextunet ttx \\ ell .l\ Brian (Knrney'xinterexting llot‘utnentdu l'm'tli lx/umlx I he eontplele running; time will liilli\;lppl't‘\ Edinburgh i'tlmhouxe
I Sherman's Marchl 1*) l le Mel’bxee. lb. Nb"! I(t|'[1HH\ Doeurnenl.” l\l \iel‘Nee H L‘el\ ell .l gt .ml to make .I lthn .lA‘Ulll the tenmtmne
e\ itienee ot (ieneml Sher n‘..tn\.telt\ llIL'\ tn the South during the ( 'n 11 \\ .H but
\\ hen hl\ girltrtentl Ielt him he lleeitietl to the the e.unet.1 il\ .1 \\.r\ ot meetinuuomen and the proleet won "ll neti Hill‘ 11\ \ttblllle. \It't/Iltmun ()n I/n' I’mwlnlm (H Roman/1t Int 1' In I/n' Smut/I Hun/1e Art
I‘. I‘ll (H \m It'll! Hr'llll'”1\PHI/Neill!!! rt 'I‘het'exult1mmoee.i\t~\it.i|l\ \ et \ .imuxtne tom! mm te \\ tlh the \ .u IHII\ munen tutti the .tulhoi \ ii.” tuition ptox ilhn: it hth ot \llipll\t‘\.liili .1 text It‘itL'lil‘i\ .tlong the
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Izthnburgh: l-"rlmhouse. I Sign OThe Timesl 15) l Prinee. 1's. 1%”) Prince. Sheila Ii. Sheena Ituston. 85 min» ('upturtng one o1 todu} "x moxl extrumguntl} talented pop eompoxers In e tn lietion in Rotterdam. lhi~ l\ usupertor eoneet't mm Ie lk‘k‘éilhc I’rtnee'x \tuge perloi munee i\ .1 \uperior entertainment. \\ 1th 4 harder. e\ en tunkier \ound than on ieeord. and the imposing: \exuul ptexenee o1 duneet‘ ( lit and Drummer Sheila I' . thn l\ hot mm in both the \ l\li.'il unduurul departmenh I'thnburgh; (‘umeo I Therese l H i) l :\|;un ( ‘zn uher. l‘runee. Who) ( litherme Mouehet. Wminx HICILNL‘ Martin mu .1 toting: ( ‘zrrntehte nun \\ ho died in 1897;1ttduux deelured in Mill“ in WI? (‘muher‘x tilntuon lheJur} prt/e ut the 1‘)8li(';irtrte‘\ [-‘ilm l’exttt ul and lillL‘l \u epl the board it! lhe French (‘exurx l'ur ironithouninginelottng religtoxitt it depletxhet hie zisutluil) Urdiliiti') one and ix both u rigorouxl) \piu'tun nut'rutrx e and an uphhttng depletion o1 de\otllne\\ and piet} (ildxglm (il'vl IThree Men AndABabyli’tiill L‘Uilditi \littti\ l N IVE-.1littttSellel'hfileu‘ (nullenbete. led I).rn\on. ( ~e|e\te I iolm. Ill." iiilli\ .'\ lt'tool unite. uonmntxtnuldllx \h.tlL‘ .r bueheloi .itmrlntenl. but the .11 “ml on their lit‘l‘i\lL‘[‘Hl the oilspitngol oneol their e.ue|e\\.ill.ur\ l\\i\ttil to \Heuk ltmot utth their ehtt m.teho hlexlxle
l-tne ti \ou hm e uxenliment‘tl. untlenmnthne et Alh .tl luettlh .mli .l Im e oi |.i\ .ttotml humour . other“ he loreetluble Hillllhli'L'liili lothier .1nd .1 lzut Ix unueountuble bo\ oltietwutee“ (il.l\i_'lt\\ ( him In l-thnbuteh ()tieon I Throw Momma From The Trainl IR) ll).tnn\ l)t \ tto IN 1"-\\H)tmn\ l)k \ito Hillxl !\\l.t| -\nne RAIN‘LW V mtm \\Iilll1A bl .iulhoi |)l'\1'l‘\\.1lil\l|‘ rill himxelt ol A1|\ ~uiolexquelx it: unmet-tin}; mother \\ hth hl\t te.tti\ e \wtlme littoi ('ixxl l' lil\P|.l\\ \lllill‘llh Hillllik'lt‘ll\
YOUR CHANGE TO MAKE
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HENEHI NiHY ii] AlMflSi PAYING [VENI UN cEWAN s EDINBURGH JAZZ unruu.
[IIINIIIJIIEH INIIHNAIIIINAI
Jig; H AIIVAl
/th flm'émm ZOTH-27TH AUGUST 1988
F [10 UN INDIVIDUAE
The [.1815 “Angie: ' :\\11