mins. Cocteau creates ati unrivalled cinema fantasy in this stunning modern version of the ()rphetis legend. replete with surprising technical tricks and the director's personal brand of poetry. lidiiiburgh: Cameo. Ossessionei ISi (Lochino \':scoiiti. ltaly. l943t ('Iai‘a (‘aIamaL Massimo (iirotfi. Juan De I.aiida. I 3‘) iiiiiis. Visconti's debut is a reworking of The I’m/mun .-l/u (its Rings 'I'ii'ii‘i': Aii itinerant labourer walks into the loveless life of a trattoria ow ner and his wife. Wife arid labourer get it on and. before he knows. it she's suggesting murder as an escape from the marriage. lidinbiirgh: I'IIIIIIIUIISC.
Patch Adams I III ('Iom Shadyac. I'S. I993) Robin Williams. Monica l’otter. I’hilip Sey iiioiii' Hoffman I IS nims. 'I‘he eponymous medics philosophy iliat laughter is the best medicine brings him iiito conflict with the hospital authorities Williams wears his heart iiist a little too ob\ ioiisly on his sleeye and. cast once again .is the caring but unconventional (Ioctoi. it is impossible to escape a diagnosis here of terminal deta \ ll. lialkirk. I’I‘II
Payback ( IN) ( litiaii IIegelaiid. IS. 1995') Mel (iibsoii. (iregg Ileni'y. Deborah Kara linger. I It) ttIIlls. .\ii entertainmeg erratic rehash of I‘)b7's l’uiii/ [flu/1A. I’m/wink finds (iibson good. if unlikely. in the Lee Marvin tough guy role. I-Iegelaiid‘s impressive directorial debut. while perhaps even more cy nical than the earlier tilm. turns much more to comedy and works partly as a send- iip and partly as an homage to John Booi'iiiaiis original (ilasgow Showcase. Irvine _\Iagiium
Pecker I ISHIoIiii \\.itets. I’S. I‘Nb’i Iidward I'III'Ii‘Ilg‘. (‘liristina Ricci. I.ili
Iaylor Vi niiiis \ariatiyc logic \eiy rat'er crops up iii \Vatcis tiliiis. icplaced instead by fiIaiic Elippancy .\tid tIiats the case with this tags-to-iiclies and-back~to-rags story of a young Ilaltiiiiore photographer. who brietly I‘ecotttt‘s lIte (Iat Ittty‘. til the New Atol‘k .iit set until he ietects it all tor his Iioiitctowii. famin and fiiciids lalkii'k
I’I'II.
Peeping Tomi ts‘i-fslicliael I’oyyell. t'Is'. I‘lbllt Karl Iloehiii. \Ioira Shearer. Anna Massey .\ iiioyic studio Iociis puller equips liis caiiieia with a spike and sets out to mtiidcr young women while Itliiiiiig the feat' on their taccs I iteily icyiled upon its initial release. I’owcll's dating esaziiiiiation ot \oycuiisiii as .i iiictaphoi for the cinema melt is lli‘\\ iegaidctl .is one ot the most inleiligeiit I‘Itlllsll Iiliiis c\ci iiiade
(ilasgow (il l ldiiibiiigh Iiliiihouse Perdita Durango i Is'i |.'\I'c‘\ tlc Ia Igtesia. ITS/Spain. l‘t‘l\i Rosie l’eie/ lay lei Bardetii III iiiins \\ ith II/fii .\I //i or! and [an] Hie/limit. iio\elist Ilarty (iitfoi‘d and diicctoi I).i\id l.y iicli tw ice collaborated to bring disturbingly protcaii woi'ids to the big sciceii When (iilfoit's . Ii.ii.i.'tci's fall itito the hands at Sports \IL' la Iglesia liowcyer. they 'i'c badly sciyed by a tiliiitiiaker who‘s blatantly iiiisogynistic and incompetent to boot I-idinburgh (Kittieo
Perfect Blue ( l.\‘i (Satoshi Kati. .Iapaii. I‘NM all mins I he director of atomic Iealttle Kiwi/II." / IL'II\ [be shit} «il a lotlttet' pop star whose gt ip oti icalily starts to slip \\ lieii she biaiiciies out .is an .i. ticss iii a .laytziiic soap opera \leanw hilc. .i sciics oI iiiiiideis appear be linked t.» he: iicw. raunchy image I.tIiiil\iiigti (.iiiico
Plein Soleil/Purple Noon i t < i i ls’eiie (.I'c'lltt'lll. I l.fllcc‘. i‘t’ilti \iaiii I)eioii. \Iauiicc Roiiet. \I.iiic I..iloict (’ietiiciit s Iiislily tiliiicd icwi-ikiiig oI a
II‘ :iiiiis
I).Illlcl.t lIiinsiiiitli story hooks \icweis into its skewed iiioial :itiiycisc Ripley iiiiiscs .i j..ltl.i'.“c‘ .ij.:.iit.st .i I:iciitl witl: j.‘III trouble and hat. I.. s .plaii to kill Illllt wit a yachting ti'ip I (IliiI‘Hly‘Il I .iiiitcic
Plunkett And Macleane i H lake \oii. I Is Z‘I‘I‘I- It Illi's Ice \ItIIet Rolit'il (pixie I:\ I‘.i.'l IIII iiiizis Il-c‘slttiife ceiithziiai. l..ii cs \l.th\‘.Illc‘.tl1(II‘.IIII\|II|‘I .ipi-tiic...iy tuiiieil ttiic! \\ iII l’Iiiiikett are Ililwlfl :i to 'ctiici tii flllyi '1\tli . cizttii‘.
lota‘i ‘It. .\ lice {its} His-t tli.':i talents to I.llli!.l! .i It‘c".‘. ..i:.'c: .is \I..\E:III_‘_' liigli'.x.iyi:ici; \ hugely can y.:l‘Ic :t empty- Iicadcd It nip ltliiibiiiy'li Iliuiitoii Ilicatic The Prince Of Egypt it Iticiiaa ('Ii.:;\.ii.iii \te‘.e lIi. kiic'i \lllti'll \\clls. I S. I""‘ ‘ \vices (-I \.-.i I’\Illli.'l Is‘alpli I iciiiies. \aiidia I’iiilit . I.. Hi. iiciIc I’Ieiflei ‘N iiiiiis
'I‘he Iixodus story. animated for the big screen. The familiar tale of Moses is told in an imaginative and inventive fashion. yet in aiming for such a bold. epic approach the human focus is lost. l-Zdinbui'gh: ()deoii. Hamilton: ()deon. The Private Life Of Henry VIII (PG) (Alexander Korda. UK. I933) Charles Laughton. Robert Donat. lilsa Lanchester. 96 units. 'llie not-so-priyate life of the infamous king. charting his life from hellraising womaniser to pathetic sloth. Laughton is outstanding as the bawdy. roaring. king whose every move is a matter of public interest (nothing changes). (ilasgow: (ii’l‘. Psycho ( l5) (Alfred Hitchcock. US. l‘)(i()) Anthony Perkins. Janet Leigh. Vera Miles. John (iayin. Martin Balsam. John McIntii'e. 109 mins. Hitch's iiiisogynistic masterpiece has a young secretary take off to liicksyille with a bagftil of her boss's motiey. I'nforttinately for her she chooses to ptit up at the Bates‘ .‘ylotel. run by that nice Norman boy. The home dialogue ('.\Iiitliei"s not quite herself today ‘t make it a toy to catch anytime around. Iidinburgh: I.tiiiiiere. The Red Desert ( l5) (Michaelangelo Antonioni. Italy. 19(i-It.\loniea V'itti. Richard Harris. Carlo Chionetti. l to Itttfts‘. A woman who has recently suffered a nervous breakdown begins a tentative affair with a friend of her husband. Antonioni tises muted colours and ati industrial landscape to magnificent effect. as Vitti's fraught heroine becomes dislocated and menaced by her surroundings. Iidiiibtirgh: ltaliaii Cultural Institute. RIO Bravo (I’(it (Howard Hawks. IIS. WSW .Iohn Way He. Dean .‘ylartin. Angie Dickinson. Walter Brennan. Ricky Nelson. |~ll tiiiiis. Classically sprawling western. in which the Duke plays a lawman trying to go it alone against the gatig trying to spring their colleague front the local jailhouse He‘s too proud to enlist support from youthful Nelson. alcoholic Martin or geriatric lireniiaii. but can lie hold out without their lielp’ lidiiiburgh l-iliiihoiise The Rugrats Movie ( L'i (Notion Virgien/lgor Kovalyoy. IIS. 1998i Voices of. I. (i. Daily. (.‘liristine Cavanaugh. Kath Soticie. SI) mins The weekly animated adyentiires of the tin-cutesy. irritatineg voiced I’ickles family is big among kiddies and adults iii the States. but the moy ie is definitely more ol a |ll|lltit enteilatiitttetiI \Iight keep the little ones quiet tor a while (ieiieral release Saving Private Ryan I ISi iSiey en Spielberg. LS. I‘Nb‘i 'I‘om Hanks. Iom Sizenioi'e. Matt Damon. ITII mins. Like no film iii recent iiieiiioi'y. .S‘iii'iiie I’l‘lttllt' Rio/i focuses its attention squarely on the brutalities endured by American soldiers in World War II. The actual meat of the story. in which Hanks is sent off with the remnants ol his unit to locate the eponymous Ryan. is built on rugged rather than subtle lines. I)unferniline: Carnegie Hall. Seven Samurai (I’(il (Akira Kurosawa. .lapaii. Wilt 'loshiro .\Iifiine. ‘I‘akahashi Siiiitii'a Jill) mitts A group of (mud sillagei's seek piotection against the escesses of a brutal w arIoid by hiiing se\ en heroic samurai Seminal Japanese action picture. with a slow- biiiIding dignity matching the best of John I’oid. and in its stylishly aesthetic handling oI screen \ iolence a profound influence on the likes of Sam I’eckinpah. Highly iecoiiiniended, (ilasgoyy (il'l Shakespeare In Love ( til i toliii \tatttleu. l I995) Itisc'pll l'lL‘ItIlc‘s. (i\\ y IIL'III I’aItrow. Rupert liyerett III! iiiiiis I‘lL‘llllL's. a pair of bi'eeclies and a few iiiooily verses and a league of women will lease the cinema wondering why they ne\ei figured it out at school. Shakespeare is ses on legs. lom Stoppai'd‘s script is esiiberantly confident. iri'eyerent and witty Izdiiibiiigh. I)oiiiinioii She's All That i I 3' (Robert lsc‘tt‘- L‘. I S. I‘N‘h l-ieddie I’rin/c .II. Rachel leiin Cook. Matthew I.il|iaid 95 iiiiiis While both (Tar/cu tiaiistoi'iiis lat/mt; and ( I.'l('./ /’.'i'('l.'/IIII.'\ t\s tsls [lit/mi H‘.’I\ lit/ruins tItIo ati \iiieiicaii hiin school setting. .\'/:t"\ .I.’.’ Hair is basically a teen ioiiiaiitic comedy i'eitiake with a fair amount of steieotyping along the way ('icneial iclcase
ol Iberia/hm:
Continued over page
index FILM
ee it
ear it eel it
NIIIE
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2/ May—IO Jun I999 THE LIST29