INDEX FILM
nice .\'oiman hoy. The Home dialogue (‘.\‘lothei"x not quite hel'xell' today' I make it a joy to catch anytime alound. (ilaxgou: (iI-‘l‘.
I Pulp Fiction I IS) (Quentin 'l'ai'antino. I'S. I99! I John 'l‘l'aiolta. Samuel Jackxon. l‘nla ’l'llitlmali. Bluce Willix. ISO minxp .\Iueh mole anthltloux than Rl'u'l'l'olr Dam. the tuox-t anaited second I'eatule ot' the ‘)()x hax many x'cenex' that clackle \\ itli 'l‘alantino \x it. and a lie“ otlleix that fall flat ax the \ilitet-dii'eetoi him-cl} expeiiiitentx. Intellockmg .xtoiiex in the pulp elime mallnel eoneeiii hitllleil. ailing Iioxeix. gang hoxxex alid theii mollx'. ding Iteiidx'. and axxoited tilt-tall. liditihuigh. (‘allieo
I The Quiet Man (I 'I tJolui l‘UItl. ('8. I952) John Wayne. .\Iauleen ()"llaia. Victor .\lcl.aglan Ill) llIlle, All immigiant ho\el' l'etiiinx to (‘ounty ('lalua} in l-’oid'x' iiox'talgic tomalltle coined}: ()iiixh xtei'eot}ping aplenty l-olloued h} a eellldh iii aid of the Adult l.ealnlng l’lo_iect. lidiiihuigli: St Bt'lde'x.
I Reservoir 0095l IS) (Quentin 'l‘aiantlno. I'S. l992i llal\e} Keitel. Tim Roth. Michael .\ladxen IIX) mltix. :\ gang of hoodx. kilo“ n old} to each othet h) colour coded tlickilaiiiex. meetx at an ahandoiied “alehouxe to t‘igiite hoxi out tlieil llgoloiix'l) planned heixt \H‘lll xo (llthllc‘ull) \\IUIlj_', 'I'lie hext dehiit in )Cnh I‘lom \xiitet tlllectol 'l'alailtiilo. \\'llUxL‘ xt_\|lxh \lolelice xediicex the audience into coltlplleit}. Illilliant ill e\et_\ xenxe oi the uold ladinhiligh: (’ameo
I nlChafdlllil531l{lxli.ttil l oilctailie. l'K. l995t laii \chellell. -\llliette lientiigz. Jim liioadhetlt Ill} iilmx. l‘pdated to lingland dining the 30x. Shakexpeale'x pl.i_\ ix xenxthly tiimmed to eoiieeiitiate lull} oil the etookhaeked kiiig'x illllideioilx iixe to the tlllone. \leKcllen gi\ ex a commanding pett'oinlancc amidxt xome \iondell'ill xuppoltlng: titlnx. \\llIlL' l.oncl.llne etlxtiiex that the haid liax lillL'l} heen tieated tn xtlch \|‘lL‘IItll(ll} ellieinatle teililx. ‘l‘he I'axelxtic look of the eoxltimex doex help elal ll} xotiie ol the (ll\ ixiolix tn the te\t, See plei W“ and ie\ iew (ilaxgou‘ \l(i.\l l'tlm (‘eiitie Izdlilhtilgh: .\l(i.\l. I Romeo and Juliet l l’( i) (titan-m /,elililellt. l'K/ltal). l‘)(i.\‘i ( >li\ ia llllxxe). l eoltald Whiting. .\lilo ()‘Shca. \llchael Yolk. John Melineiy l5: ltitnx'. .'\ll ell'ectixe tieattlient ot Slt.’tlxe\[\e.'tte\ \ol “CL‘I‘IL‘. made all the mole accexxihle h_\ the eaxting; oI teenage leadx l‘iil'oitunatel). it'x dill'ietilt to keep a xlialght Iaee Ito“ that the xoliiidttaek hax heen hi tacked h} Radio l'x ()iu Ill/51' xpot. l'iI'e: Adam Smith. I Safe t ISI t l'odd lla}nex. l '8. I995) Julianne \loole. l’etei l'tlediiian. Silxan \oimaii. llH
nunx. A i'acuoiix (‘alil‘oziiian hoilxeix il'e x'iicctnnhx to a II)_\’<ICI) em‘ii'onmental illiic‘xx and. iii the pi'oeex‘x ot' ll_\’lllg Ne“ Age thei'apiex‘. lx made to quexlioii hei i)\\ll identity. 'l'imely tn ltx xuhject inattei. chilling m itx conception. axxiiled in itx I'olm. thix ix one of tlie kc} .'\IllL'lIc‘.'lll I'llmx’ ol' the decade See plCVIC“ and IL‘HC“. (iltixgiixxz (il-‘l‘. lidinhuigh: l‘ilnihouxe. I Scotland On Screen (l’) A pioglamme of I'llnix \llU\\ in; the changex met the )eaix to xe\etal xitex of hixtoilc llitelext. lidlnhtiigh‘ St lllKlC‘x
I Sense And Sensibility it‘iiAn; l.ee.l S/l 'K. l995t limma ’l‘hollipxon. Kate \melet. :\lan Rlekmati. lliigh (ilaiit IRS tiittix. Denied thell inheiitaiice \\ hen the tathei til the houxehold diex. the lettulle lileiiiheix ot the Daxlmood I'aiillI) lace a piecaiioilx t'uttlie \x liieh eoiilplic.‘ltex tlte loliiailcex ol xelixthle l:ltnoi t'l’hollipxoiil and eillotlx e .\l.li latlne (\Viiixlet I. ‘l'hoiiipx‘oil'x adaptation keepx the \xoidpla) engagml) tau and xhaip wilted. hut IIC\CI loxex xight ol the pooeit'ill Iiiixtlationx ximiiieiing heneath the xilit'aee lnItnitel} mole xatlxlittig than yotn t}pteal lltil'l'} peliod piece. (ilaxgoix- (Ideon. lidiilhtilgh: Dominion. ()deolr l'(‘l Sllillllcl)thl l'('lx
I Seveni l.\'i tl)a\ id I'mehei. l'S. I995) Iliad l’ltt. \Ioigaii l‘ICL'IIIJII. (i\\}tiL‘llI l’altiou l3? minx The outline ix Iailiiliat — l\\o eopx tlaelx do“ II a xellal hlllk‘l hilt Sl'l wt ix a xtep ahead ol itx li\alx. I‘iom itx opening title xeqtieilce olmatdx. it'x .m C\llClllt'l) daik movie “hieh uilldx thlough tlle liioxt tuixted teeex'x'ex oI' human nattile. liach death ix a giaphie inteipletatlon oI~ one ol. the xe\ en deadly xinx. go in: .-l/lul .i' diieetol l'mehet the mateiial I'm an intenxe \l}llxlle exetcixe in lioiiol~ (ilaxgoxx‘ ()deon lidlnhlligh' (‘ameo
I Sgt. Bilko tl’(it (Jonathan l.}illi. IS. l‘l‘lfli Steie .\lattln. l)an :\'\klo_\d. l’hil Ilaitmati. 95 miiix 'l‘hcie ate no xliiplixex m tlilx lolltme Stew .\laitill \ehicle. lil'ted limit the Phil Slhetx' 50x 'l‘\' xho“. llete tlle xealit-ho} .\laxtei Selgeant continitex lilx pi'lxate \endetta \xlth .\la|oi ‘l‘hoiii l3} tilinx limit) and hoi'ing. the xeiipt hax too much xheen and no teal I'ilepoiiel. (ilaxgmx- .\l(i.\lx, lidiilhuigh: l'(‘l. (‘ential: (‘annoit
I Small Faces i IR) t(}llliex Maekiililon. l'K. I995) lain Roheltxoii. Joxeph ~\lel‘adden. IS. Dull}. l().\‘ lilillx. (‘o-ixlitten \\llll ploducei hiothei Bill). (lilliex \laekinnon’x‘ iliaixellouxl} detailed xtud} ahout the gum in; palm ot' a ho} caught ill the Iiingex oI (ilaxgou 'x gangland
\ iolenee iii the (illx CIIIL‘lgL'S ax :1 “mm aiid
.icciilate pottia}al oI \\\‘llxlll:_'-Cl;|\\ Iaittil} liI‘e. ('entlln; on thiee hiotllelx. it a\oidx the [‘llliélllx ot‘ the (llaxgoxi haiil man IiliH'lt‘. illxtead lk‘c‘itlllm}: ;t \lllic‘ltiil lllL'\'\ll-'|‘.I\\.I}Ik' Inlet (iL‘llClal li'lCihL‘.
I Smoke 1 I5 t (\VJ) ne “any. [8. I995i llaixe} Kettel. \Villiam lltitt. llalold l’eliineall. lt'lo' liiinx_ .\o\eltxt lllilt otteix holiielexx lad l’eitliieau a place to xta} altei he ix xa\ ed I'lom hem}: iun oxei l‘.lxe\\heie. \\ell ohxei\ed llioolxlyt eliaiaeteix hang: ollt ill the tohacco xtoie v. heie Keitel \llxpetix'ex llotiiexptin plllloxoplliex. .-\ tleliithtl'ill and compelling: tleat. haxed on the \xotlx oI l‘aill .-\uxtel. Sec leatlite and lC\lL'\\. l‘dllihutgh: ('ameo.
I A Soul Divided By No 4 l5) tSlh to Soldinl. Ital). l‘Wit l-ahli/lo lientnoglio. .\1aiia llalxo. l’llillppine l elo} lleaiilieu ll-l mlnx .\ xeeulit} gualil. xepaiated tiom liix \\ iIe. applehettdx a 33px} gill I'ol xhopllltingt. l‘lll they decide to Hill oII together Soldml ix one ol ltallan cmema'x‘ loudext \oieex xpealxtli; .'t_‘.'.l|tI\l the iixe ol the \e\x lx’tgzlit ltaltali l‘llll‘. l-extlxal (ilaxgoiij (il‘l, lzdttihiilgh' l'iliiillollxe
I The Stolen Children t ISliUlaimi \melio. Ital}, l‘t‘lltl iilleo l.o \clxo. Valentina Scaltei. (iiilxeppe leiacitano Ill milix .\ lelatlloilxltlp deielopx hetueen an Italian polteeiiiati and too delinquent kltlx m hix ehalye aItel tlieil mothei ix aliexted Supeih lx-ilollllalieex gziac e thlx glelitle xlllil) ot the ltieanltigz ot genuine Ileedollt liuiopeall l'lllll ot' the Yeal a: the I993 l-e|i\ \\\aidx Italian l'lllil l C\lI‘.;tl (il.l\}1it\\.(il'l l'diuhuigrll: l‘illllliolixe
I Stonewall 4 l5) 1 \l;:el l'Illc‘ll.l NI '8. I‘I‘I5i (llllllk'llllt‘INJI.lilt'kl\\'1'!|Cl.[alk'llkhlll(.(‘lll.lll\ "9 liiilix (la) coillitix ho) \latt} l)eati t\\'elleil x‘itlll;‘\ to _\'e\\ Yolk in the xumniei ot '(i‘) and meetx lip \\llll a cl\‘\\\l ol diaj; queenx led h_\' "'\lll~§!\11lo"l“ll‘l)l|!/‘ l’ollx'e llalaxxiileilt aiid lllllhllcc‘ l‘IllI}..‘\ ahotit gal} Illele tleiitox. tliell itotx in the lla} x altet lull} (iallaildx tleallt. \ \olotliItll illox lil;:. x‘elehiatoi} lillll Itom the late \igel l inch lalilihlllgli' l-iltltllollxe
I Strange Daysi In I t K.lllll_\|l liigteloxel S. 1995i lx’alph l'ICIlIlC\. .\ii)_-ela liaxxett. liiliette l3" lllltix '\ clt‘\\ hlell h}hlid ol Illlii non. Ititilllxtle thllllel_ political continental} and iolllatlee. lllgtelov. 'x .lllegrol} \lltl“ x technical \lxlll, hut «loexn't \\e.i\e itx plot tliieadx llito .i x.ittxl}tli;: “hole l'telmex ix the \llexk'\\llll lL‘lJilCl ill liiiiillt‘; tlli'allix, ICx‘i‘ItlL'il ll\C llk'll Ltc'lxk‘cl lltli) h) we“ c‘lx k‘\[\‘llt'llc‘lll:_' lllL' \LllllL' adlenalln luxh. hilt e\ent~:lll} miltdel eiaxhex the ".‘lll_\ Scoiehlligz \ixualx, \xllatewl the linal
|.e\xix
oilteoiite. lidinhuigh: (‘ameo
I Sudden Death ( IS) tl’etei ll}.imx. l'S. I‘MSi Jean-(‘laude Van Damme. l’oxxelx Boothe. Raymond J4 Bali}. llll minx :\etoi and ililectol leteaiil al'tei Thin-cup lot a hieatlilexx. it piedietahle. action iomp ‘\ cooll} el'ltclent e\toltiotlix't lioldx the \ ice l’iexltient and .i xtadtum oI ice hocke} Ialix hoxtage. hilt hitex otI mole than he can ehe“ \\ hen he giahx a little gzill - dallglttei ot iitaintetianc e man \ali l)aliiille
See le\'te\\. (ilaxgou: \l(i\l l’allxhead lidilihuigh: l'(‘l. Stlathclyle‘ l (’lx
I The Swan Princess it‘~ IRIelIJltl Rlx‘ll. t 8. I995) \Vith the \olcex ol lohll ( 'leexe. Jaclx l’alaliee. Steven \\'lt;_'ht ‘ll tiittix Snail lam m itx l.lil}t;lli‘ toiili. v. ltll all the expected itlgziedielltx that modein \ hlldlen'x anliliated Ieattllex contain talking: ailimalx. hland hut \ tite lleloex. mllxieal lotitmex_ -\ti e\ ll lliagleiall caxtx a xpell on a plmcexx. tuiiling: hei into a mail x\llil an} lIlIll that leatliiex l’alallc e doing: a xongz called ‘\’n “we \li \tee (ill_\' hax to he \\oith a \lxtt.(il.lx;1o\\: \l('l\l l’alillead
I to Have And Have Not l l'( '. i t t lo‘.\ ant llav. it
I S. l“15l lltlltlplile} llonait lattien liaeall. Wallet liteliliatl. llo.l_~_'_\ ('aiiillcliael llt‘t liilllx liogalt and Bacall \xoilxed togethei lot the tiixt time lll llaukx' lleittiiigzua} adaptation.ch in tlie (‘alihhcali \lllllllj; the ‘.\.II. \x lleie liogalt'x lehliig hoat outlet ix ill.l\\ll tlito the conlllel l~\ lttx lieal lile) lo'x e tot Ilacall (tl.l\‘:!\i\\ (ill
I To Sit Will! love 'l’( it tlaillex ( 'la\el|.l K l')(i(ii SKlIIC} l’oitzei, (‘liilxtlatl Roheitx. Ind} (ieexon. HIS tiittix .\ hlaclx teaehci tianxtolmx .lit lIIIIlll} claxx iii a l.ondoli xluill xchool \loxtl} tineom mcm; plohlemx lapait liolli the xiiipiixiilgl) good lului liiali tliix attempt at eotil'iotititigr xelioux xo. lal txxuex liltiihliigh l'IllIlllUlle'.
I Unzipped l l5l l l )till;il.l\ KL'L‘\K'.I S. l‘l‘ISI ": liiiiix lt'x htteli eat hitch in the healipole \iolld ot‘ Iaxhioii. ax dexigznei lxaac \ll/ialll plepaiex tol liix .mtiiittil xhoxx .\lole than all elongated ('Iut/lm Slum . thtx enteltatning and leiilalkahl} candid dm‘tlittentai} goex hellittd the \xt‘llk‘x to eapttiie the egotixtteal pollipoxlt} and hieathlexx entltiixiaxli‘. ot the Illtlll\ll_\ l’lent} ol celehlitlex atld xilpeiiliixlelx to he xeeii See in IL'“ l-Idiiihtilizh' l-lliiihotixe
I Toy Story i l’(iitlohll l axxetei. I .\. l‘t‘h'i \\'ith the \oiecx oI' ‘l'oltl llalllxx. lllil \lleli. Iloil Rle'txlex. SI tilllix It ixli't tiixt the xtate ol the alt iitiagex‘ that dixtiiigziilxli l)ixiie_\ 'x Illxt ct‘llll‘lllt'l gellelated aiiltiiation teatllle. it'x grot .l clackltt; ad\enttite xtol} too '\ tale oI Ilieiiilxhlp and
A film by Claude Sautet
and MrArnaudi
Film Theatre
I From the director of
Un Coeur en Hiver'
Emmanuelle Beart Michel Serrault Jean-Hugues Anglade
'EXOUISITE AND TENDER'
‘ELEGANTLY FILMED AND PLAYED, IT'S THE BEST FOREIGN LANGUAGE FILM YOU'LL SEE THIS YEAR'
WINNER CESAR 1996 IiISI tlintt‘ton tiixt Ai‘ton
0141 332 6535
The List I9 Apr-2 May I996 29