FILM LIST
Kiliiiai'nnek. ( Menu .\3 i. Rialtn. IShagI lFll/eltla l'lilllttll. l‘l\'. WNW Bridget l'UltIla. l’ltI‘L‘l‘L‘ ( ’.Ilc‘\. .’\llll;tlk‘lll (Il\ll llllllllllh. \ntitli ( Liinliiia. I‘M? l'niii iiIIIlIlIe-el.i\\ f_'ll Ix lll\l nut nt high \ehnnl laee an adult tiitiiie lll enllegeni lll.tl'll;l_L'L'. l‘lll iini hetnie the but weekend nt theii li\e~'. III the \ltape nl a iaiiiil In the Sun l'llll l e‘\ll\.tl at .\l_\i'tle lieaeh. \\ here the Itiiieiai \ lllc'llltlc'\l‘tt_\\. IInn/e. the bench. .i l‘e.tlll\ pageant . and the grand Shaueiiiu eniiii‘etitinii l the Shag; heme the lllltllltL‘l niie Ilaiiee era/e nl the day)
.-\ liliii ahniit l‘ln.‘ \et‘llllllgl} \n light-heai teIl .llltl iIIIe\ lllLJl It might ha\ e been made Iii l‘th. iheie'x \llll .I l\lltt\\lll;1 edge In llll\ tun-tilled talent f_‘li)\\ll‘.! tiptn appeal In the It‘lltlltt‘l l' Iehties \c'll\ll‘|lll_\ .-\ IeenIiiiiIeIIIletl eiitei taiiiiiieiit (ila\§_‘n\\ (aIIIInIi. ( Iinxxeiini ()Ilenii l-Iliiiliiiieh ()Iienii (eiitial. t 'aiiiinii Stiathelxtle't .Iiiiinii.l .I Seala. ( )Ilenii .-\_\ I . ( )Ilenii l laiiiiltnii Rialtn IThe Shining I IN l \iaiilm l\tll‘l tekl S. l‘Nlilaek \lc'lliil\Iill \helh l)II\all. l’hilipStnIie lx'iihiiek'nneiuIniieht liniini liliii Ill\|‘elt\e\ xx Itli maeh nl the pyxelne .I)‘[‘.tl.llll\ nl \teiiheii King's llt‘\L‘l tIu'niieeiitiale nii the Ileei‘ei hniini nl .I taiiiih ltll'lllllt‘. Iii nii llu‘ll. \ielinlsnii. \\ Ith all the \tnpx nIII. l\ line-e) etl .lllkl Ileiiiniiie as the lather hi Iiisziiie iiIiIeh aeurexxinii In hear .tf.‘:tlll\l lll\ \I‘ll. .tllkl the MINI \c‘c'llL‘\ are. literalh ehilliiiu l tliiiliiiigth, l'lllllllttthe.
IStreamerSI l.\lll{til\ell .-\lim.ui.t S. l‘).\'.‘~l \l.ittlie\\ \lHtllllL'. \liehael \Viight. (ieniee l)/lllltl/.l l|\ llilll\. .'\t aiiaii lnree Iiaiiiiiiueaiiip three Iiiiiiiuie'c‘iiiits
\ Iittiall} hax e the place In theiiixehes. .iiiIl \ ai lttll\ lL‘ll\IUll\. Inierl nit the \llpl‘tt\L‘tl littlllI\\c‘\ll;tlll_\ nl niienl them. liiialh erupt IiItn \ inleiiee
l ll_L'lll_\ ehaiueIl .\ltm.iii ehamhei pieee. a eniiipaiiinii Int i’Hlt' li’m A In l/ie I'll e glint Iii/tie. .lmmn Heir/1.1mm“ I)(‘IIII. uith a instei nt e\eel|eiit pei lttl'lllttlleL‘\ and a \ln\\ -lU-l‘lllltl hiit pnuei liil elima\ l-tliiiliiiiuh: (amen ISweetDreamSI liiilxaiel Rem/.13. l‘).\5 l .lexxiea I .Iiiee. lxl l l.tlll\. .’\llll \Vetleeunith. ll5 lltlll\ -\Ileqii.ite hineiaphieal pni ti .iit nl the lite .lllIl ll;t}_'lc'illl\ \hnrt lllllL‘\ nl etlllllll} -\\e\tei ii singei Pam (line that iarelx ;t\I)ltl\lllL' \taiitlartl hinpie eliehes hut I\ dragged \\e|| niiI nt the Hit h} line pertnimaneeslrniii the piineipalx.iiiIl\nmexteiliiigiiiiiiiiiighs Miss l .aiige, l'tlllll‘llltlll. (limen IThree MenAndABabyIl’t I) ll wnaul \ttttn} . l '5. l‘y’V‘ l 'l’Iittt SellL‘elrx . Steu‘ (iIItteiilieigz. t ed l)an\nii. t'eleste l lnlm. Ill: Iiiiiis, .\ II In nl \iiiiie. \\Itltt;iltl\lllf_‘ lads share .I haehelni apaitiiieiit. l‘tll the itl'll\;tl nii theii tlnnixtepnl the nltxpi Iiignl nne nl llteit (tireless .Illalt \ is \nnit ln \\ reak hax ne \\ Ith theii ehie iiiaehn lllL‘\l}lL'.
line it Inn lia\ e .iseiitiiiieiital. tIiIIleiiianIlIiIe ei itieal taeiilt} and a ln\ e nt la\ atni'ial hiiiiiniii . nthei xx [\L‘ lnt‘gcllalxlc Iiiaiiistieaiii tnIlIlei and a Iaiih tiiiaeentiiitahle l\n\ nlliee \iieeess_ Strathelsde: (lulehaiik lll IVassa I l’(ilt(ilel‘ l’aiililnx .t‘SSR. l‘lh'fil liiiial‘hiiiiknxa. lllliiiiiis. .\lil\lL‘ll_\ adaptatinii nt ( ini l.) '\ plat . \\llll a passiniiate pei'lni‘iiiaiiee ti'niii ( 'hiiii km a as the high-pImeretl \\ nmaii l‘nxx nl .I shippiiigeiiipire struggling In hide the \L‘\ll.ll \C;lllklill\ that threaten In m er“ helm the taiiiih and undermine her pnxitinn. (ilaxgnn ; (il‘l IVice Versa l l’tiiItinantiilheri.t'S. ltlh'h‘lliitlge Reiiihnhl. l-i‘etl Samue. Smut/re Kiii'tx. ‘l.\ llllll\. .-\ m_\\tieal eastern \ axe eiialiles _\ Iippie l‘ll\lllL‘\\llllllt Reiiihnhl In ehaiige plaees xx itli his pi’eeneintis \ehnnlhn} \nn tni the (la) . with near tll\;t\ll’ttll\ L't‘ll\ct)llc‘llL‘L‘\ lnr lll\ eaten and lll\ ln\ e lite.
.\lntlerii \ ai‘IatIniI nII a \Iell-“nrii eniiiie theme that iiianagges little hut preclietahle taree and a l'L‘\l\lll‘lC exereise III desperate
Iiitigeiiig lrnm .\lr ReIIIhnILl. l’L‘l'llitpxll
— KING or THE CHILDREN
King OlThe Children (PG) :.— (Chen Kaige. China. 1987) Xie Yuan. Yang Xuewen. Chen Shaohua. 107 mins. Southwestern China‘s Yunnan Province. 1976. Mao‘s Cultural Revolution is now in its tenth year oi attempting to suppress a huge nation‘s tapestry oi history and traditions and replace them with its own new conlormism. The tilm opens in a young people‘s work camp. the resultol government policy whereby city youths were removed to the outlying districts to undertake manual Iabourlora substantial period ottime. Lo Gar. is one such young person, taken from the city while midway through his studies. he has been on the rice larm tor seven years. until word comes through from above that he is to teach atthe local schooL
Coming alter the visual spectacle ol Yellow Earth and The Big Parade. the rather more subtle aesthetic ol Chen Kaige‘sthird lilm mightexplainthe surprisingly muted response with which it has been greeted. Yet. the manner in which the piece contrives to otter an intimate portrayal oi a teacher working against the odds in a tiny village school while contronting the wider issues ol the Cultural Revolution‘s problematic. not to say misguided attempts at linguistic control. make this a lilm of quite engrossing intelligence.
)nIii' Iiiiiitl had been Itlle‘ll n\ ei h} an elexeii )eai‘-nhl [lll\ might he _\niir kiiitlnl mm ie. (ilasgnu: ()Ilenii. l’tliiihiii'gh. ()LlL‘Hll. Strathelttle: l.a Seala. ( )Ilenii .-\} l' IWall Streeti l5) l()ll\L‘l Stniie. l 'S. l‘).\“ l ( ~hai‘lie Sheen. .\liehael l)nti§_'la\. Haulllaiiiiah.'l'eieiieeStaiiip 13‘) llllll\. Returning.y tn the treiiehes. tiiiahashetl lllUl‘tlll\l Stniie again presents a tla\\ed llL‘ltt\\llllL‘llitl'ttL‘lL‘l-tlL‘lllllll}1tlllL‘lttlllih and im llL‘\ ll\ tn nhxei'x e as lie I\ e\eitetl. \Ctlllk‘L‘tl. n\ e l‘\\ helmed. ahaiitlniietl anti tiltiiiiateh l'CthL‘lllL‘tl h} the \\lUll_‘.!llllll\ and t\\ ixtsnl lll\L‘llL‘UllltlL‘t\\\llll lilitllcihallL‘L‘. (‘nnteiiipniai'x rnhhei harnii aiitl \tnekiiiai‘ket legend ( ini'tlnii ( iekkn ll)ntig:la\)take\ a \lllllc tnaiiihitiniis supple Bud l-'n\ (Sheen ) andmentualh nllerx him the ehniee nt heeniiiinga l‘llllllL‘\\|1l.I_\L'l'lllNCllllth‘llJtl maintaining: his sell-rexpeet and Integrity HUI/Street tinle Stniie\ lIie tempei etl l1} a mnie \ediietixeh aiiihix aleiit iiieariiatinii nl ex il. but the result is still an Impressh e. eiigrnssing drama that. hit Iiieiiinrahle Ilialngue and fluid eiiieiiiatie skill ieitiaiitx eniiilnt'tahl} ahead nl the eurieni paek. (ilaxgnxx : (il-‘l' litllllhtlt'glll l)nmiiiinn. Strathehtle: ('hIlehaiik Ill. I The Whales 0t August l t ‘ i It littl\;i} .'\llthl'\()ll. [8. 1987) [than ( it\ll. Bette Max is. Vincent l’riee. 0] ltllll\. 'l\\n elderly \l\lL‘r\ spend the \tlllllllL‘t nII the l\l;tlltl In Mame \\ here mu tears pre\ Iniisl) the \\ atehed the \\ llitlL‘\ nltshni‘e. tin“ \\ ith nltl age lnng set til. then lltl\l‘illlkl\ are as tlllll a tTlL‘lllItl‘} asthe lL’Httlllitlhilllkl thex ll\ e tllL‘lL‘il\lllL'l\ iiithe [taxi . K I (ieiitle \~ ea\ e nl eintelieI} eniiieth and haunting drama. \Ntlll Um I\ and ( iiin as lllkltllllllitl‘lc‘ and eharmiiig as M et . and UllL‘l'lllg \\ hat Is prnhahl} a last uppni‘tiiiiit} tn .\a\ntit' at length the work nl Inn nt the great ladies nl .-\Iiiei'ie;iii eiiiema. l-Iliiihurgh: l'llmltnthL'. I Wish You Were Here I IS) I l)a\ Id Leland.
On arrival in the classroom. Lo Gar linds that all the texts have been withdrawn because they are ideologically unsound andthatthe children themselves have no books. Wethentollow his painstaking progress as he attempts to teach them Chinese according to the parameters set by the Maoist authorities. and the dilliculties he runs into when he discovers that this language is alien to the rural people‘s own ethnic dialect and the needs at their agricultural lite. Eventually, Lo Gar breaks with the prescribed methods to encourage the children's creativity. and to show them the creative impulse that lies at the heart 01 their language‘s means at expression. ‘King olthe children‘. lor example. may not be a politically
l'lx'. 1%") limils llnyl. 'l niii Hell. (ienlli‘e) l liitehiiigs. 9: ltllllN :\iii;itnI} lltl\;lLl\L‘llllll'C\ nt a [TIL‘L‘UCIUIH teenager III a Ili'ah 1951K \CihltlL‘ In“ It.
litlltt} ahle. hitters“ eet enmie treatment nt the \e\ual mnres nl lllllL‘\ gniie In .\\ Ith all L'ttL‘l‘gL‘llL‘ pet lIIt'tltltltk'L‘ ll'Ittll perk} iieueniiier .\l\ l.l(‘_\Ll. Stiaihehtle: (‘l'\(lCl‘illll\ ll).
I Witches ol EastwickI l.\'l ((ICnl ge Miller. [8. I‘lfi").laek \iehnlsnii. (her. Stixaii Saiantlnn. ll.\‘ mins. Sullneatiiig In the
pi Im ll'itllqllllll} nl a \lll;tll tn\\ n in Ne“ linglaiitl. three single unmen set their enlleetn e hraiiis lt)\\;tl'kl\ ennIIirIiig tipthe perleet Mr Right. .\'e\t mnriiinga tll}\lL‘l'ltttl\ stranger smitten!) appears. as ii iii ati\\\et in their praters. and hegiiistn eharni the pants nlt them. lliit the I Ipe. rand) and l'kllxl\ll Dar} l \.llt llnriie isthe Ilex Il iii tlhgllhc. and there l\ a pi'iee tnpa} lni‘ their pleasure . .-\ Intniis.Iliahnlieal i'nmp. “tilt \iehnlsnn hax mg the time nl his lite. Strathehtle: (‘lstlehaiik lll.
I Withnail And I I 15 ) I lli'uee Rnhiiisnii. l'lx'. 1%") Paul .\le( iaiiii. Richard la (iraiit. Richard(iriltiths. Ill" mins. Witt). 'l'mmiit nt “ni‘k aetnis siii’\ I\ my llll‘ttlltlll l.nnclnn girn squalnr take a hieak iii a piettIreseque lake l)l\ll'lL‘l enttaue. \\ hei'e nne nl them stillers the atteiitinns nt the ageing lltttllt)\L‘\ll;tl n\\ llL‘l'.
RL‘zlxtmttl‘h entertaining British L‘Ulllk‘tl} with a lL‘llLlL‘llC} tn rely nii tlteall-tnn-eas} targets nl drug-taking and 31a} sterenty pin}: lUl' mtieh nl its huiiintir. litlinhiirgh: l-iliiihntise.
TEFORT—
SEE P53
correct phras. but it is the traditioa
I
way otsignitying a teacher. lmpartingthis kind at knowledge
however. incurs the wrath ol the Party and Lo Gartinds himselt replaced. Yet betore he leaves. he shows his class one more instance oi authentically ethnic expression by writing on the blackboard the word tor urine. which combinesthe symbolslorcow and water and is derived trom the cowherder'straditional trick ot pissing to let his parched cattle drink. Thus Chen Kaige linds an appropriate image to embody the protound struggle ot a language and a way ol lite against the bureaucrats and the ideologues. A gesture ot quietdignity closes a deeply-tell piece otlilm-making.
(Trevor Johnston)
c - I - N HOME STREET TOLLCROSS TH. ()3l 2284M] PHONEIOOKINGSALLSHOWS
NOW SHOWING Martin Scorsese’s THE LAST
TEMPTATION OF CHRIST (18) I .15 (not Sun), 4.30, 8.00pm
0 Law flight I
Allat11.15pm
Fri 16:0NCE UPONATIME IN AMERICA“ 8)
Sat 17: DOGS IN SPACE (18) & DUDES (15)
Fri 23: PLATOON (18) & STREAMERS(18)
Sat 24: SWEET DREAMS (15) & FRANCES (15)
O guru/(lg 7] laliném
Sun 18 Sept at 1.00pm
EMPIRE OFTHESUN(PG) Sun 25 Sept at2.30pm 3 MADE IN HEAVEN (PG)
Next presentation l A WORLD APART (PG)
The List 16 — 2‘) September 198815