Film Index
Family I l’(iI ISaIIII \Iaitin Sail and Pine .-\IIilIII-\I'leIIII. l)enmaik. INHII ‘Ntiiin 'I lie protagonixt III thix doctiinentar} Ix director Saint \lartm'x lather. \Iho ahandoned the Iamil} u hen xlie \\.Ix _\otmg l’IIoI to the making III tlIIx film. Saim'x hiotlieI committed xIIIcide and heI Iiiothet died \II emotional iiixight Into the directot and her lamil}. (il’l'. (ilaxgou
Fantasia I l I I Hen Sharpxtcen. l'S. I‘HIII 'l'he \oice III l)ecmx 'latlot. muxic pl.I_\ed h) the l’hiladelphIa ()Icliextta. conducted h} leopold Stokouxki l‘x‘mm lull} textoied to mark Itx 50th annneixat}. \\alt l)iine} 'x xL'ltll-dl‘xll’dcl IeatIIIe IenIaIiix a unique and axtotIIxhing acliIeIeIneIit x\llllH\l eqtiall} landed and loathed. it contamx xoine \ixuall} xtIinmng llldlL‘l'Idl ax “ell ax xoine rather emharIaxxing kitxch. hut xurel} the nioxt Inemorahle xequence Ix Illl' Sun I II I '\ .Il/I/m-nm t' xtarrmg .\licke) \lotixe
Iendou ed lot the firxt tmie \\ itli puple tttxlt'atl III littllIIlt c} ext SI lit‘tde‘x ('enti‘e. lzdmhurgh,
Far from Heaven BM 0000 I'I'odd lla}nex. l'S_ ZIIIIII Julianne Moore. l)ennix ()uaid. l)eniIIx Ila} xheIt Ill—'Inin. In xt) le and content. lIaIIIex‘ film IiithitIonall) rexeiithlex the teat'ltil IIieIodI‘aInax made h} l)oug|ax Sirk III the I‘)5llx ln thexe filnix. I‘L‘Pttlttltttll takex precedence I“ Cl L'ItlIIllIItl and leeliiigx III |o\ e are conxequentl} xtamped out h) the critical moralixing III li'Iendx and l'amil}, Such ix the caxe III lltiIIIex' homage \Ihcn ('atli_\ I.\looreI and Hank I()uaIdI find themxeh ex tempted h) Iorhidden Iruit III then particular (iardeii ol laden. |la)iiex iixex the xeeming Innocence III the 50x to e\plore a topicall} rexonaiit theme III ho“ people are rextricted h} \L‘\l\l and racixt higotr} in a climate oI' complacent xtahilit}. .«\ film III great depth atid traged}. See pi'e\ ten and rcxicn. (il’l‘. (ilaxgtm.
Fear Eats the Soul I l5! IRaIiIer \Verner liixthder. (ict‘lltdll). l‘)"-II Izl Hedi lien Saletn. Brigitte .\IIra. 93mm. :\ middle- aged charuoniaii \\ ho IIchI to he a .\'a/I l’art) Inemher. takex up \\ Ith a )oung :\rah IIIiiIiigrant \Iorker. much to the conxternation of her triendx and neighhourx. ’l‘} picth IIIeIodi'aiIiatic l-uxxlIiIiIIei‘ xtud_\ ol a IlixIntegratiIig relattotixhip. \thtch alxo examiiiex the prohlenix ol I'achin in \Vext (ierman xociet}. (il-"I‘. ('Ilangm.
508 Memories II'I I\'arioux. Scotland. VariouxI 75mm, An tlllCl‘lltItItl of film
xlIIm mg Scotland ax It uxed to he In the 50x, North lidinhurgh .-\rtx ('entre. lidinhurgh. Final Destination 2 I ISI .0
(HM Id R lillix. l‘S. ZIXHI :\|I (‘artctx :\J ('ook. .\lIclIael l.aiiderx. llltlmm. lilhx' xequel to ZIXXI'x eiI_III_\ahle xtipertiatural thriller copiex Itx recipe ol rIthIe dialogue. B-lixt acting and e\cexxi\el) grixl). tonuouxl) plotted xlaughter. It Ix thix hlack humour that xa\ ex the film I'rom horror xeqiiel IIIeIIIIIcI'It}. ax plate glaxx. pigeonx and proxtlietic linihx contrihiite to an
in\ entIIe xeriex of Heath RohIIIxon-mxpired l'ulttltltcx. ttll preceded l‘} ttl leglxl otie littlxc ending. Iillix kulI'IilI) orchextratex the xet piecex htit doex lexx \\ ell \\ Ith the xill}
FTH
Thurs 2 7th Feb 8 Women (15) 7 30pm ThUrS Mar Bowling for Columbine (15) 7 30pm
Tues 71th .I'tlar Die Another Day (123) 7 7 for 7 7 30am, (8 7 30pm
Tickets and further information from The Steeple Box office
(Tel: 01324 506850)
or on the day from the hall
28 THE LIST 2‘ Feb—‘3 Mar 3333
coincidental lmkx hctuecn chataetetx that the xctipt coIIIIIIex up (Ieiietal teleaxc First Kill I<I I('IIcII SclIIIIheI. \ethetlatidx. 3”“! "‘IIIIII \eteianx III the \ Ietnam “at tell ahout tlIeII experieticex. Iocuxitig not ItIxt on the ttatimax hut .ilxII the trmmplix l’la_\ing a hig part In the dot Ix \lichael He”. the ’xceiiaiio \IIIteI‘ lot /:I.‘.' WI III/ .III'I kt! l’dl'l III the ‘llk'lllk'lkl International I)IIcIiIIIeIItar_\ l'lllll Iextixal (Il’l. (Ilaxgou
Fried Green Tomatoes at the Whistle Stop Cafe - III .00 dun .-\\ net. I S. 10‘)! Kath} Hatcx. .lexxica land}. \lai} Stuait \Iaxtetxon. \lai} | wow l’arkei I‘IHIIIIII \tteI the local Kit Khi\ Klati thtcatcnx tlie hux} cale m \\ lIIxtIe Stop. Mahama IIII xer\ mg coloured ctixtometx. the Iemale ounei aIid liei hlack lI.iiIIl_\Iiiaii find themxelx ex on tiial tot an imxol\ ed miIIdeI \ chIonIcle III coinage atid Ingctitiit} that a\IIIle hecoiiimg ax
o\ ei\\|ielmmgl_\ lIeart-IIaIIIIIIIg ax Iou might ha\ e IeaIed \ot the nqu taiitalixmg Item on the menu. hut a Ila\oIiIxIIIIie little Illxh nonethelexx \oith lzdmhmgh ,\Itx ('eIitIc. ltdmhtitgh.
The Game of their Lives It’tiI Il)aIIIel (ioidon. l'K. ItNItII Mlnim \\ hen South Korea knocked otit Ital) iii laxt )ear'x \\'orld ('up. it hroughl hack IIIeIIIoIIex III then northern neighhourx' xIniilai xticcexx III the Woo touinament. Documentar} maker Daniel (iordoii \\ ax a man IIII a IIIIxonn ax lie tracked IltI\\ll the Iieroex III that liIxtorIc Ila}. Part III the Slicllield International l)ocuiiientar) l‘llIll l'extnal. (ilrli. (ilaxg'Im.
Gangs of New York I t.x‘I 00. I.\IartIn Scorxexc. IVS. IINIII leonaido l)I('aprIo_ ("aiiIeroIi l)Ia/. Daniel l)a_\> l.e\\Ix. l(I.\'IIIiIi. 'l'hirt} )eai‘x III the making atid plagued \\Illl production prohleinx. Sc'IIi'xc'xI"x loiig cherlech film ahotit the hrtital xtI‘eet gangx \xlio louglit [or control III a coriIeI III late l‘)t|i .\'e\\ York (at) finall} arrI\ ex. and it'x a hig Ilixappointnient. 'l'lIe tllnxl llUlle'tll‘lC ll.i\\ Ix llldl SCUl'\L'\C-\ eI'lortx to tell an epic xtor_\. \IIIIclI L'tteIItllpttxxL‘x pI’IIlIIIHIC tlIIIlleCt'x. the Immigrant e\pcI‘Ience. racixm. corrupt politicianx and the (‘II II “at. are xerIouxl) IIIIdcriiiiiied h) a llIIIix) romantic xtihplol III\ol\ ing |)I(‘aprio'x xtreet urchin and l)Ia/'x purxe-xnatcher, 'l‘hix hax the unuanted rexult III coniprotnixing a l'axcmatmg hIxtor} lexxon \\ itli teen-pleaxmg romantic nonxeiixe. 'l'hink (fund/I'llsz Ineetx IIIIIIIII; But L'\L‘II a poor film h_\ Scoi'xexe' xtandardx Ix an iiIteI‘extmg one h) an_\one elxe'x. .-\Iid Il lor no other reaxoii. (iIIIIeI ix north xeemg I'oI‘ l)a_\ -l.e\\ix‘ tonermg perlormance ax the lL'l't'll} mg. charIxniatic aIItI-iIIIIIIIgratIoII gang leader Bill the Butcher Selected t'ClL‘axL‘.
Get Carter I ISI 00000 I.\tIke llodgex. l'K. IUTII Michael ('aine. Britt likland. John ()xhorne. 1 12min. (ie! ('IIi-Ier xtandx out ax a highlight III the artixt t'ormerl) kno“ II ax .\ltc‘kle\\liite"x career. llIx xuperhl} controlled perl'ormance ax the relentlexx aIenger IIII a xcore-xettling trip to the North liaxt ol Iingland oIil_\ makex )ou \\ ixli ('ame had pla) ed more \ illamx. llodgex griml} el'lectn e direction pt‘o\ ex that )ou don't need to he ax \Iorth} ax Ken touch to make a document of xocial hIxtoI'}. ('meuorld. lialkirk.
The Good Thief t ISI 0. I.\'etl Jordan. l’K/l-"rance/l‘S. 3003i \Ick .\'o|tc. 'l‘chek} KarIo. Said 'l‘aghniaoiii. ltISmm. lnxpired h) the Jean-Pierre .\Iel\ ille film iioir claxxic. [in/I I.I' I’lIImlII'IIr. Jordan'x latext Ix part thriller. part hudd} nio\ ic. part tinlikel_\ roIIIaiIce. \\Ith liheral doxex III' qtm‘k} IrIxh humour thrIIIIn III tor good Iiieaxure. .\'o|te pla}x a l‘raIIco-.-\iiierican junk} thIeI doun on hix hick in the South III l‘rance. looking tor that final xcore that “I” xet him tip tor the rext ol liIx lite, 'I‘rImg too hard to he too man) thingx. the rexult Ix a tllllllel product. \‘liC \‘l‘ lllL' “(It‘ltl'x l‘L‘xl directorx on poor I'orm. See re\ IL‘“. Selected releaxe.
The Good, the Bad and the Glltzy IISI I\'arioux. Scotland. Variouxi “5mm. .-\ xelection ol filnix h_\ )IIIIIIg filmmakerx ItUltt the l’ilton area. North Iidinhurgh .v‘mx (‘eIItre. Iidinhurgh.
Harry Potter and the Chamber of Secrets Il’( iI O... It‘lIIIx ('oltmihtix. l Sl K. INHII llaiitcl Radclitte. Kenneth litaiiagli. Rohhie ('oltIane ltII'IIIm It'x the ho} \Ii/atd'x xecond }t'.tl at lloguaitx School or \\ Itchciatt .md \\ I/aIdI} \xlieie e\ 11 IIIttex lIa\e teleaxed a \ ictotix xetpent Into the cIIIIIdIItx \\ ho'x to Name Ix It IlaII) ‘x II\al ptipil litaco \lalto_\. the lo\eal\lc j_'t.tttl llagitd IRIIlIlIIe (a‘llldtlc‘l I'l a In} xteIIoIix toimeI pupil \IIIII cIIIIImIItiIcatex tlIIotigh the pagex ol a iIIagIcal diat} '\\ lIoe\et ll 1\ the_\ ‘te pettiIImg the ptiptlx and xettmg looxe an .tlltl_\ III chIII_\ mg xpideix ()nte agam IaItlIItIl to the oitgmal iIo\el. tlIIx film Ix daIkcI than the lIIxt and getx mote IIIiItklI into the meat III the xtoI} \IId \\llll the xame Iantaxtie caxt III lIIItleI IIIaIaIteI actot’x. It'x anothet xIIIe the hit \elctted lk'lt'd‘k' High Society ll I O... It'liailex “altetx. l S, l‘l‘lII lIitIg (’onh}. (iiate Kell_\. l'tdllK SmatIa. ('elexte lIolIII Il|"IIIIIi (‘laxxIc Intixical entertainment Iiom the \l(i.\l xttidiox. m \\ltlcll a rich hitch pla.\x liatd to get “till a xtIIiig III xIIIton llie plot III I’lii/IiI/I l/I/IIII Stun goex oil! the \Iindou. htit “llll xtaIx like thexe. xtIII' Ix I-IeIIIIIIIIg l (‘l. Izdinhtirgli
The Hours I l: (\I C... IStepheII Daldry l'K. IINIII \icole Kidman. Julianne Moore. .\lei'_\l Stieep ll-lmm II'II IIIImI takex \ irgInIa \\IIII|I ‘x Idea ol a '\\IIman'x \Ihole liIe ma xingleda)‘ Ixee \II I l)tl//I’l\t1\ I and extendx It to thtee \xomen Irom three dIIIeIeIIt lime petiodx \\ooll herxell IIIl.i}I'II II} KIdmaIII cIIca I‘L‘S. 50x l..-\ houxc\\IIe latira lhoun I.\loIIIeI and pi'exent Ila} Xe“ \IIIk chhian xiiiglc Iiiothet'. (‘Iarixxa Vaughan IStieepI l xIIig a cII'orIlexxl} li‘om Iiari'ati\e to naiiatI\e. It hecomex clear that thexe \ei} dilleient mdn Idtialx xIIare the ICCllllg‘ the} lime lIeeII li\mg their ll\ ex loI xomeone elxe Screeimriter l)a\ Id llaI'e Iadaptmg \Iichael ('tmnmgham'x noxclI and l).tltlt_\ xedntlexxl) blend the xIIItlL‘x. and the perlot‘mancex are Iemaikahle (ientnnel) nio\ mg. (ieneral I‘eleaxe I Spy I l3:\I O Iliett} lllt'tlldx. l'S. IINI‘II laddie .\lurpli_\. 0“ en \\ llinll. I-amke Janxxcn. ‘NIIIIIII. [XIII \\lllI Ill} little e) c. xomething hegIIiIIItIg \\tlll l- l'lop ’(Iot It in one. The odd-couple pairing oI cockxuic \ltii'ph) and IaIdhack \Vilxon III tlIIx renorkmg III the Mom 'l'\‘ adIeiittIIe xcrch \\.tx a pitch \\ Itli a lot III potential. l'iil'orttinalel}. the eleinentx crucial to a hudd} xp} caper humour. tight action xeqtiencex. xharp hanter heIIIcen the principalx are prett) much ahxent “lllttttll leax e heIe. \Vilxon pla_\x a xecond-rate xecret agent II ho Ix I'oi'ced to team tip \\Illl uorld champion ho\ei' .\hirph_\ ax co\ er lot a iIiIxonn to Budapext to I‘etrieI e a terthl} III-tech xtealth fighter plane. xtoIeII h) Malcolm .\Icl)o\\ell'x t)pIcalI_\ IIeIaI'IoIIx. I'oreign Ito AmericaI armx dealer. Budapext lookx prett} and there a ten xl} digx at Jatiiex Bond and .lliuton.’ IIIIpouI/I/I'. lIIIt there Ix precioux little elxe to I‘ecotimiend the tilt“ te. Selected t'L‘lettxe. Impressions d’Afrique I t ‘I .\Im the Screeningon a xelection ot xhort filIIIx e\ploring ,-\Irican lIle. talex and tiadItIoiix Including The [fun /\ h} ldrixxa ()uedraogo. 'I'lie (iunie h_\ .v\hderrahmane SIxxako and The ('IIIIII and the (Ionian h} .\Iotixtapha l)ao. lIIxtItiit l'i‘ancaix d'licoxxe. Izdmhurgh. Into the Deep Il'I IVut'Iotix. [8. DIN)! I .\IIII the. Put on )oiir 3|) glaxxex to x\\tttt \\lllt colourlul garihaldi. xtai‘fixh and xharkx; pla} tag \Hllt xea lionx and Hl‘xL’H e raIel} xeen heha\ Iour III xqtiid and otheI creaturcx. I.\l.-\.\. (ilaxgou. Jackass: The Movie I 1m 0000 IJeII 'l'remaine. l'S. 300M Johnn) KIIII\\I||e. Bani \Iargera. (‘hrix l’ontiux. S"mm. We all knoxx the xkit II} no“: extreme prIt'lx dttIlex xtth|ecl tltetttxel\L'x III pain Ior our entertainment. the MTV xmaxli that hax throun Knou Ille and hix \atide\ the III cohonx onto the lloll} \Iood .-\-I.Ixt. no“ axailahle III xuper-extended Iion Ie I‘orniat. li\actl} the xame ax the TV xltIm \arioux xtoopid xtuntx all edited together “till gung-ho ahandon hut unit a
xltglitlI lItgth httdget 'lc‘ IlIc\ go to lIIkII‘ .md llctiI_\ lx'ollIIIx .tI-px tIpI \IIIIe III that plot tuhhtxh l‘l .IIIItliItI; elxe that'll xlou douti the cattiage See Ie\1e\\ tienetal teleaxc
The Kid Stays in the Picture 1*- ... ~\.mette IIIItxteIII and lIIet'. \lotgan. l S. .‘HI‘I ‘CIIIIII limxtem and \lotgati'x docttIiIetIt.II_\ dIIexII't attempt to pim Ide .III 'IIlIIectne' attotmt III the tipx and dounx III the ttIIlIIIletit lIIe III Ilolltuood [‘II‘Iltlct'I lx‘oheit I \anx liaxed on the IatteI'x .ItItIIlIioeIaplII .md Iiattated III the gta\el \otted l \atix hitiixell. It'x .I xltcc III xedtictne IIi_\tlI making \till It'x a tetnatkahh xtIIII ho“ a tailed .tclI‘I hetaziic head III production at l’aIaIIIoImt m the IIIId I‘NIHx and tIaIleI-Imed the .tlllllf.‘ xttidio'x IoIttmex. ht IIIeIxeeItIe .I xttmg III littx. Ilium-I. 1.... yam. /;;. (II 'l. (ilaxeoo‘
mt hiding lI'IIx. II:..I I. (III.."'...'I':I I .IllIl( I'III:.;.'I w. I: lIlIIiliIIIIxe. l dIIIlIIIIgh LIE l\I O... I\litliael ('Iiexta. l S. It'll] I HILIII ('ox. l’atil l Iankliti IIaIio. IIIIII Kat "1mm \Itei the death III lIIx IIIotheI and l III III\exti_-_'.Ition III hix IatlIeI. ttotIlIled _\oiitli llou lc'.\ Illanoi delinquent patteinx xtait to de\e|op \ IIIlIlIeI_\ hittng liIx .l\l1\lll\‘\ to the attention ot pi||aI ol the Ioniniimit}. and paedophile. ‘lIIe lolin~ llaIIIgaIi «('II\ \ xtian:'e iiIIittIal telatiotixhip dc\elopx. all III the xliadou ol the exei IIpptexxne I one lxlandl \ptexx\\.I_\ lllUlll \Ilietc the IIIII\Ie ;'I'I\ itx tItIeI lIIxt time Iliiectot (‘tiexta'x lIlIIi Ix a datkl\ lieatt \IaIIiIIIIg tale III .I cIIIIIIIxed teen'x .mgxt In inIall tII\\II \IIIeIIIa ('o\ pIItx Iii a Iateei hext peiloimatice. lIIIIIgIIIg \ Itttiall} timniaginahle patliox to a \ll.ll.l\lk.l IIIII Itiitiall} hate ('loxe to the edge. lItIt Ieined III h} IiIIdeIxtated peiloIInaIItex ldIiIlIngh l'lllll (illlltl. l diiihtitgh
The Last Metro Il’( it 0000
ll Iaiicoix ltlllldtll. l l.tlI\ e. I‘NI. ('atIieIIiie I)eiieu\e. (it'ldltl Hepatdteu. lean l’onet lilmin In the otctipied l’aIIx III I‘l-ll. |)eiieti\e takex met the limiting III .I \lonttiiaitie tlieatie \Iliile liei lI-uixli lItIxhaIid Ix in hiding \Ieaimliile the conipan) IIIclIIdex a IIIIIIilIeI oI peiIoIIiIeIx “ho ate alxo Iii tlieii o\\n \‘..I_\x under tlIIeat llttttl lllC \d/Ix (ilIIxx} .tlltl \\t‘ll \.I\l \\.tllllllt' drama. \\llll lIiiIIaIit \xoikmg in lIIx nioxt enteItatiiiIig .Iiid coIIiIiIeIcial \em (il'vl'. (ilangIu
Little Otik (Otesanek) I I<I .0. dan S\aiikiiiaiei. (’/ech Reptihltc l K. SINNII Veronika /ilkII\.I. Jan ll.tlll. J.IonIa\a Kietxclmieioxa lilmm l tilixmg an old (Vech Iolk talc. Sxankmalet Iotuxex on a haIIen couple \IIIII go to e\tIeme lengthx to hccome paientx \\ lien theII 'cliild' getx out III control. xtiackitig oti ati)tliing \Ihtcli xtIthlex IIIto itx path. hatd dechIoIIx need to he made (‘ommg on like a cIIIxx hetuecn /.I'I1II I/II'III/ and HM II’I III! III III! (II/III. SIankmaIer'x e) e lot a heautittill} tIaIned Image Ix Ilaulexx IIII the lIIxt Ill nimutex. hut \xeaix thm ax xoon ax the IIIeIloIIg. i‘epctitne xtor} takex hold r\x an animated xhort. It uoiild lia\e made a \IoiiderIIIl addition to hix xtiitealixt Iepcttoiie ladinhtitgh l'tllll (mild. ladiiihingli
The Lord of the Rings: The No Towers 13.x» 0000 ll’t'lt'l tat-Lam. l’S/Nexx /ealand. IIIIIZI l'.ll|.tlt \\ood. \iggo .\lortctixen. l.l\ 'l’.\ler l"‘)mm. 'lhe xecond patt III JackxIIiiK aIiIhitIoIix three paIt adaptation ol JRR 'lolkieii'x epic Iaiitax} adIentuIe Iliight lack the xtIII‘_\tellIIig \cr\e ot the fiIxt film. lIiit III tcrmx III xpectaclc it takex hlockhttxtei fihninakmg to the next lc\el ('ontmtimg “lIL‘I'C l/II' It Hot: \hl/I III !/II Rm: lClI (Ill. \\lll1ttlll.tll_\ Iecap ot the xltlt} xo tat. Illt' IIIII IIIIII'I'I IIIllIMx llItL'L' \k'pdl'dlt‘ plotltncx l'tIIIlII'x trek to \lIIIlIIt lII dexlto} the ring. hix lellou llohhitx‘ meeting \titli the lantx
Check out the Blag Bag for great