re ._, mate lidson follow her into the I‘Ieak mid-western snewscape \iI \eiy lots lei and monochrome. but there's a
wonderfully diy sense ol hiimoii: .it play lidinbiiieh: Izdnibiiigh I 'niyeiuitv I'lItt‘. Society.
I Strangers KISSI I < l l \I.tlllit'\\ ( 'hapniai‘. [-5. I‘m.“ PCII'I'I‘H‘JIIU. \ lt‘lt‘!l;l Ieiinaiit. Iilairie \oy .ik. I)an \lii~i ‘l-I niiiis Delicatvly crafted fiIni-witbiiia lilni scenario. Iiasetl .iioiiiid III‘.‘ making Hi .I lt]}\lt'l'y \tlspc‘llse Illt‘\ le. Ill‘sc protagonists Imi :llai: Il'. ‘Il‘~_“~ lh. Il“»«"l ol the actress i who is puttine :none\ IIIII' the film i. but is delilieiately liieIIed I“. the directorifoyote l. (who In in it \‘ lII lend his cast an e\ti.i intensity ('oniiilm. I‘ll: rewardingdrama, \\I‘.l\ll\stilk\t‘ti\\.‘\t‘i.li Ieyels. I'tilhI‘IIIE'II I TIlllIlIull~L‘
ISubwayi mil .:. is Li... (ilYl\It'}lIl‘.'I iiii‘wi Is i" eile i l7. Richard liohiineir iii! in \‘vnilil iw \t‘. Iish lli:iIIei st l" tin: l‘ i! is III 71 iiiil‘l-eli‘."
J't.".\-_I'.Illtll.i'I'Ull.‘ :liiJcli‘yt. .\l\ .'\tllillll while i!_\ll|\.' lolly out «it tin \sav ot cop Iiilill’llltiel I .l’ Ittiitili ml with itseIl. this is plati‘ til“ lllil‘ I'ditibiiigli_( .lllle‘l'. IATaIeOtSpringtimeil'i n! we Rohniei.I'iaiicc. I"“l'l .\z:ne It-xssgdu. I'Itit‘eiiee I);iieI. IIll‘. tit u Uiiesiv'! I l.. mins Kicknigoll Iil‘~ v2. [mm .'i:‘r.\."l\ series, RHIlltlL‘l leIIs lite ll!ll'll.ii\ I.lI'.'til .IL'iltttlL‘ Ltlltl \;il.’isli.i \'. I‘M st‘eiilia \i. I\ in the country \‘.llll \.il.t\Il.l ~. ['.l, Iii: 4. each e\posingtheii deli. iii-psy.h_.
‘ll_i
Subtle charactei l\(tlll In I. .iiii-ot m ei .i-n‘e 't sense ot reli‘e.’idingnl.l _\_‘l 'tlllti_I‘lll Rohnierophiles will «nios v'. noneiheh ss (ic‘titraI: \IaeRonit ‘~.:i».f enli'e. ILeTestamentD'Orphee' met a. (‘octeati.l lance, l V II, leart o.ie.»ii. I‘dotiaidDci'nitthe .Iv
ii‘. \l.ii.iis. \lriiii (’asai'cs. Yul Brynn. if" i lllllls. ’I he «'1’
terrih/e‘ssecond dip llllt » the I )i'plictis
legendwasalsoliislast liliii.aiidi‘;eti\ obsctireit istoo. iiiilessyoii'relazniIiar with Iits earhei work I IIl‘sIIlltL‘ there's little but recycled iniageiy 1osee as (‘oeteati allows hiiiiselt ti ~I~e overwhelmed hi .i ba' rag:
ol fantasy and pessimism.eventuth giyiiigtiponth; realworldaltogeihwi InfinI‘iiighil Y"l‘.‘.‘l‘ Institute
ITie Me UplTie Me Downl l isiil’eilr.» .'\Il‘tltltltl\.ll'. Spain i‘mlli *\llIt‘lllii Baiidcias. \ iqtoiia Tshiil. I'ldllel‘ci‘ Rahal. I‘ll lltlll‘~ It'svm'nniioi: Ile'H‘ltlt‘
UICXPUII'IIIQIIUIIIIIIIL'L1\"\Iilli‘tItWJI t'L‘\c:iIs Iiis lllll\l pm'. .ie iti‘. e t I Hi“ .‘ti: vl‘. to date with a bare outline that reads llli‘lt‘ like mere \c‘\l\l trash male loony Bandei'as kidnaps [‘i‘t no queen .\bi ll ties her to the bed. plinips her full oi drugs and. Io. they tall in II we I ook Iiesondtlie sordiddetails howcyei and the liInieieates its own moral logic hast-don llltllllLtl need between two very dani iged eliaiaeteis In the end. .'\Illl“tl~l\'£ll iiianziees I~l\‘.lll‘.L' tttUmL‘ttlsiiI real (‘IIIHllt illllI lL‘M‘IIT'llt‘t‘tllII ol the most iinpioniisini: iiialerial. so wc should give Iiiiii .i IIIIICt iedit eyen il soiiit doubtsi'eniain I'dinbiiigh't .inieo. ITolal Recall I IN I’atil \ eihoey en. I \. I‘Nlll :\i hold Scliwai / ~neegei . Sharon Stone. Michael Iioiiside Ill‘J niins In \'erlioc\'cii's hugely espensne rolletcnasterol violence .-\iiiie pI.i\ s an ordinary construction wot lei whose trip to \ztcaliiiiial latitasy itiipIiiil sei‘. in: Rekall Incorporated is ti pitch Iiiiii ltll' ~ .lll unpredictable iietheiwoildoi lll'lltlt‘ll‘li‘ assassins and lcninies laiales hen ne unleashing the toll ii iith about his nightmarcsol lite on Man I he eta/y
. Dutchman'sMartianchronicle.teeming withsiekoincident. is poweredaloiigby
biii'stsol fit‘k‘filllld-lllh‘lllllrI‘lIll;tIIl} but
I scores points lot the plzn llll ingenuity ot
the plotting. and .\iiiie looks like he‘s
enjoying himscll ('enti'alrt aiinon
IThe TtIaIlI’(ili()ison Welles.
France Italy \VestUc-iiiiatiy. I‘lhji
Anthony I’cr‘kitis. I )ison \Vellcs. .Ieaiizie
Morcau. Romy Selina ltIL i. Ifllniins
\VelIes failsgiaeeltilly 1“ III”) the
r.
unfilmable Kafka fable. though his ‘ monneliioiiie espressioiiisiii eoiiiesclose ioaehicyingthat atninsphcieolcranky [‘illdl‘t‘bl, Iiiit l’erkins' performance as K is t: n i n .' atioiial to generate the necessary Ieyel « »t s_\ nipathy . and the pinscrecii .iiiiniated prologue is probably the mm ic's itch point I’dinbiiighl lll\L‘t\ll_\ Film Society.
ITrue Storiesrt’t . l l I)Ll\ttI liyrne. l’S. I‘N‘i I lay i.I By : iic . Spalding ( ii'ay . .lohii (denian. <3 niins \Viiter director star ind I :lking I leads lioiitnian Iiyrnc isout g iiele tn the mythical small town ol Virgil. I esas. w here we are iiitrodtieed to the y.ii'iwisehainiiiigandidiosyncratic inhabitants. .»\ lightly iiiiiiioiotis. endearing iiiosaieol non iiai iative fiction that s« one may lind .l little too piecioiislor (II 'I
R-"ieheii Ib.
i\i lIC\\.l. I'\er ‘tt
Ii‘."\\II‘YtiI11>i\I|' L'l“.\
attainnCity»i'n\t,.zi l"""IIlt"M‘tni?ll lII‘. ll: Iii‘ u'vtiie. lili'
In: iiiii-sl A" \g‘slk.\\\.
tili‘”. .v « 'tl' in t! l[‘-\'t‘llII‘-. levelops
iiirlisgs‘l it" li‘i"" 'ilz' infill t‘l lllllis lllllil
Itsuiiti‘:
step \‘s high . iilziizntites in murder.
while I‘ls wile I I I..I!\ i I i'miiishesii!
binninrii “\ starkly I‘eaiitiltil looking Illlll. though lacking in l'll'l.iII‘~e";‘.lII.IL' i‘i intensity (slang-Ins t’iI'l.
Il'he Vanishingi :5 l I ( ic'tllgc' Stu/lei. \eiIieiIaiiiIs. I"\I‘l Heiiiaid I’ierie linnziadieu.(wen: IIeiyoets. Iohanna'lei breeze llI()IIIIII\ '\\tilll‘i;I)tlIL‘Il\\tht;tll
on holiday with her inn iiiend in frame
inappears iiie‘~;pin‘.rbly . .IIItI her pat tnei
\le liti\}c'.ll* ol his Iilt‘ tracking liei‘dowti. es i'lllliilII‘. to llI.'L‘I up w llIl Iier iiiyster‘ioiis .ibdiietm .zndei li'e inns! nerve-shattering : zit cizeiiiiistanees \Ir tiei.iloiisiiiv.-yei\ department and with .i tritly chilling
siipi‘ise ending. Slit/iei 's him not only
In wish the last decade's mi mt com iiieinil I riiex ie s tIliiii I‘lll is li’l\t'\It'tl \\ itli .isc'i‘y I all: t ting undercurrent o: emotional I vulnerability I diiibiiigli. I'lI'ltIlt‘tIse I I Venus Peteri l.‘ l t tan sellar. t‘lx'. IVH‘H l Ray .\Ic.\nally _ (ioiilon IQ Stiaelian. I lay id I Iayiiiaii ‘l‘. niins \lleetrng adaptation shot wn ( )ikiiey of Scots writer I
( hi isti‘l‘hci' Riish's inipi essionistie .-I
i la ('/‘.'t'l)ltl)l.’ll .'IHU’.I III/v. set lit a Il\IllllL‘ l \lIl.l‘.'.t' in the I‘l‘lls lliie ol \1e:\nally \ last I'lIc‘\t‘;l\I\ Iiiiii lie itililiilly aslhe l v nipaihetie giaiidlaihez'oi I’eter. played Iv. iiit‘e yea: old Stiaehan(wiioisiiotto be . .inliised with the tillllll‘etlll‘.t' Scottish ':'.idlieId etiiiiisl in II‘.l* nin ingsttidy of .1 iii. in; I « uniniinity seen IItllltIL’II the eyesot .i \riiiiigl‘ii‘. \iIlilIiIL'IIIIt‘: llilltlatlt I'IIttl sot-lei; I Le Vieux Fusil llri- i 21.1 Rll/t'l lfii I Robert l1i2i'ieo_ I rante. i" '7?) Philippe \‘on'et. Romy Schneidei “7 mins. In occupied I-i’anee. \oiiet's surgeon treats aIIthe iniiiiedwithoutdiscrimination. which IL‘LI'I\ to tiouble with the ( iernian authorities He sends Iiislaniily into hiding.iiivleoiiliniies.isiieloic. IiiitIatei illst‘tnelsiils \sil'. .illtItIIllItI Ittl\L‘I\c‘ell I‘-l‘.ll£tII\ niiiidei'ed by the (ieiiiians. Ile Iil‘ilt‘n'ilialc‘I‘. lit'i'i‘ttlestiI‘\t'\\etl\kllil iey enec It” in is liIni is a testament totlic ia'eat y til p IIII thirty y eaisattei the war. and the lli'li'li’ status still held by the Van/rm til t\t.'ll\‘v. I ieneht inc ( ‘Iiib I Vixen 1 IM t Rll‘w \I; \ .‘l _ I b. I‘loM I‘iira I l.t‘~IIi. I I.tl'.".\I In I'.ntc.( niitli I’iII dwiry \li 'ii.i.'I I lonosari I )‘I Miinell. “i l‘i‘lll~ social. political indsestialsatiie -.\tII‘. tile Iiii'iiitiesl iitl\lIIll"‘x iii the litisincssiionithe :nainiiiarynieistct' liiiiiselt .( lie! l\Il.lI‘Ik‘. ll you have the right senseol humour I-dinbuigh; I anieo IWhat EverHappened To Baby Jane?i lSi {Robe-it .\|diieh. I '8. I‘m: l I‘Iettcl);iyts. Io.iii( iawtoid. \‘iclot Iiiiono I33niins. lhe catty riyaliy between twolornici seieen stars I and ol course. i‘eseiiiblaiiee may be intended to pets. ins ll\ hit! or dead) leads to suspicion alter a mysterious .ieeidenl contines I at rawlord toa wheelchair in -\Idrieh‘selesci I‘tll iiItiinalely iiiisatislyine mystery thriller. I tIIIlI‘illtlII. (amen.
_. _ ELEM _ __
I Where The Heart ls l 15) (John Boorman. I'S. 1W“) I)abiiey ('oleman. L'ma I'hurman. Joanna (‘assidyp ('rispin (ilover. Suzy Arms. 10? mins. Boorman
who eo-s‘ci'iptcd with his daughter ‘I'eIschc.
stays on similar ground to Hope uni/(ilory with this family orientated film » only it'sa comedy and set in the present. ‘It'sabout young people growing up in today‘s society and not knowing what todo with themser es.' (ilasgow: (irosvenor.
I Wild Orchid t/alman King. I'S. 1W0) \lickey Rourke. ( ‘ai‘rie ( )tisdaequeline Bissct. I12 mins. More ofthc same from [alman King. the man whose previous offerings hay e created their own subgcnre
ol pi'etentious. ll ritating. sol'eoi‘e humbug.
or PISI I as we in the trade call it. 'I'histime it's \ acuous young innocent ()tis. who is inducted ll.lt a whole new world of simulated sensuality by pc: ol the week iiisset and Roiii kc w hen she goes toc‘Io-~e on .t property lead in world Iainbada capital I<iode .-’.ii‘, :i:o. i'dinbui‘gh: fltl‘e‘till.
I The Witches l I’(i i l Nicholas Roeg. I '8. WW) .-\nielic.i I Iiiston. .‘slai '/ettcrling. Rowan Atkinson. WI niins Nine year-old I like is warned by his Norwegian granny about the es crpresent threat posed by the csistenee ot witches. which isn‘t much help actually because within the next half hour he stumbles on theirannual convention in a small iinglish hotel and gets hnnsell changed into a mouse for his pains. A pleasing adaption oI Roald l)ahl‘s children's story has director Roeg (in unusually straightforward manner) creating a superior kids movie that hasyou rooting tor the mice all the way. Lotsof liiii. (ilasgvm. ('aiiiioii 'Iihe I'ot'ge.
I dinburgh. I '(‘I Strathclyde. ( )dcon
.-\y i. I'( ~I ( ‘Iydebank.
I Withnail 8: I ( I5) (Bruce Robinson. l.'K. I987) Paul .\le( iann. Richard Ii. ( irant. Richard(irifliths. Ill7iiiiiis.'l'wo out~ot-woik actors sttt‘\ iving 196‘) London en'o squalor take a break in a picturesque
Lake District cottage. where one ofthem suffers the attentions of the ageing homosexual owner. Reasonably entertaining British comedy with a tendency to rely on the all-too-easy targets of drug-taking and gay stereotyping for its humour. Iidinburgh: Cameo. I Women On The Verge Of A Nervous Breakdown ( 15) (Pedro Almodovar. Spain. 1988) (‘armen Maura. Antonio Banderas. Julieta Serrano. 98 mins. When Pepa's illicit affair with an older man isabruptly terminated. she sets out for revenge. but is distracted by a succession ofoffbeat visitors seeking her calming influence. A splendidly bizarre character comedy front the maker of Law ()flh's‘ire. with sortie off-thc-wall acting and a plot that pays ironic but affectionate homage tothe classic I lollywood comedies of the I"5(ls. Izdinburgh: (‘anieo I Young Guns 2 l 12) ((ienlf Murphy . t‘S. 1W”) Izmilio listcvez. Kiefer Sutherland. I.ou Diamond Phillips. Christian Slater. .Iamcst'oburn, IIM mins. Re—hash time as the brat packers slip back into their chaps for another bash around the deserts ofthe south-western States. with in-fightingand hot pursuit from William Petersen‘s Pat (iarrett to contend with. But the slick violence and loud guitars fall well short of recapturing the exhilaration of the first instalment. (ilasgow: ('annon The Forge. ()deon. Edinburgh: ()deon. l}('|. ('entraI: Regal. Strathclyde: ()deon Ayr. LZ('I (‘Iydebaiik. l'(,‘l Iiast Kilbride. I Young Sherlock Holmes l PG) (Barry Levinson. I'K. 1980) Nicholas Rowe. Sophie Ward. Anthony Higgins. 109 mins. I IoImes‘ first case while he is still a schoolboy has him involved with a murderoUs underground cult of Egyptian origins. Produced by Steven Spielberg. this is entertaining stuff for older children. blending Victorian backgrounds with Nb'lls‘ special effects. lidinburgh: liilmhouse.
SKINI KNEES THEATRE C0.
l‘he ()Id Athenaeum Theatre I79 Buchanan St., Glasgow Fri 7 Dee - Sat 5 Jan
I(Skitrt Knees “rim. ..
icligiits' beyond measure." The Scotsman
I'el:()41-332 2333
a riot ofjaunty, bouncy scenes. . . ingenioust contrived to produce. . . secrets and
I‘I(.‘KE'I‘S: £5 (£3concs) from The Old Athcnacum 'lhcatrc Box Office
I‘icket (Tentre, (‘andleriggs 041- 227 5511 and all 'I‘ickctlink Outlets
SCOTTISH YOUYH
SI
YHEAYRE
'l‘hc list i) 33 November thl23