w Film
Films screening this fortnight are listed below with certificate, star rating, credits, brief review and venue details. Film index compiled by Miles Fielder
About Schmidt I III oooo
l.'\lL'\IlllilCl l’.I}III-. l \. .Tltll‘I lack
\II lIIleIIII. Kallt} llalI‘x. llHPL' l).I\ Ix lllllllll I’IIIIIIIj: axIIlI' .Ill ‘-.Illll}. .IIIIl C‘k'llk'\\lll_‘_‘ lIIx lxlllk‘l xIIIIlI' .IIIIl I'II'lIInu .IIIlIIIIg. \II'hnlxnn IlnIIIIIIaII'x I-xI-I} IIaIIII' nl IlIIx lIlI'alI InIIII'Il} .IlInIII a II'I'I'IIII} lk'lllt’il IIIxIIIaIIII' .IdIIIIIIIxIIaInI nn .I I'Inxx- (ltllllll) IIIIIxxI') \x lII- lt‘\l\ll\ IlII' plan-x nt lIIx I'lIIldlInnd. \\.IIII'II \Illlllltll \ll\((t\t‘l\ that the map nI lIIx IIn/I-II human heart Ix I‘nIIIpIIxI'Il. IIkI' lIIx II.III\I- \I-lIIaxka. IIIan|_\ nl llal. I'IIIpI} xpaII'x 'llIIx Ix \II'lInIxnII'x lIlIII. lIIII lxlltltlx Ix .len IluI- In the I'nIIIInllcd dIII'IIInII and xulIll} I'nIIIII' nlIxI'HaIInIIx (ll |’a_\III' .IIIIl lIIx xI‘IIpIIIIg: [MllllL‘l JIIII 'l'.'I_\lnI. \xhn pII-\ InIle} I‘nllalInIaII'Il nn IlII' xaIIrII‘al lllgll \t'lIIIIIl L'ItlllI'Il} I III‘Il .‘If I (‘I Illlll'\. lulrrI/Iurg/I
Adaptation I lit ... ISpIkc JnII/I‘. l'S, IIIIHI .\II'n|.Ix ('agc. \II'I_\I SIII‘I'II. (‘lIIIx (‘III‘PUI I l-lIIIIII 'l’lII' I'n I‘II'aInrx nl liI'IrIu .lIr/III \III/erIII II. \IIIII'I ('lIaIlII‘ KaulInaII .IIIII IlIII'I‘InI .lnII/I'. unIIld haw IIx lwltcxc IlIIx xInI} nI KauIIIIaII'x I'llnIIx In adapt StIxaII ()IlI'aII'x pnpulaI llitll'llt'llttll ltnnk /'/II' (III [III] I/III'l In lII‘ IIIII‘. ()l I‘nurxc. Il'x .In I'lalInIaIc prank; IlII' lIll\ nI tau and III'IIIIII. had INC and II'I'I IIII' IIIakI'x [III a I'IIIIInIIIII'd I'nIItIIIdIIIIII lluI I'II'u‘r» (II-WI .Ix KaIIIIIIaII'x xI'IIpt Ix. It IaI'kx IIII' pla) lllllk‘\\ that made the IIIIIIIl lII‘IIdIIIg .UIIILIII II II \llt‘ll .I In). -\IIII IIIII'nIIII‘IIIInIIal ax IlIc plnI Ix. II IIIIII‘H} lK'CUlllC\ prchI‘lalIlI‘. lInIIII‘all) I'IInuglI lnr a film xn Ul‘\L'\\C(l \\ IllI plul. lllL' \laltdntll I'lI'IIII'IIl Ix .I pcrtnrtnanI'I'. a I'I'Inarkahlc nIII' h} llIL‘ greatl) undcrxalIII-d ('nan-I .Ix IIII' I'nIgInaIII‘ raIc llU\\L‘l I‘nllcctnr .S'I-II-I It'll I‘I'II'II\I’.
Anita and Me I l.‘:\I ... I.\lI~IIn lluxI'} III. l'K. IINIII (‘lIaIIdccp l'ppal. :\nna Ilrcuxlcr. Kalh} Burlxc ‘Ntllllll. lI'x l0": and l3-_\car—nld \lccna Il‘ppall Iwa III .I .\lIdlandx IIIIIIIIIg \IllagI- “fill her xIruggIIng lIIdIaII paI‘I‘nIx “lit” the lIInIIdc. lll_\\lL‘l'lUll\ :\nIta IliI'I-u xII'I'I I'IIII-rx lII'I lIlI- \\llll lII'I' dccpl) d_\ \lllllL‘llUliJl laIIIIl}. \lccna lIcI‘nIIII'x lII'xnlch \\llll IlIIx .-\I'_\an \ IxInII. hut ll Ix a II‘IcIIdxlIIp IlIaI Ix In lL‘\l III-r IaIIIIl) alnng uIIh lII'I‘ xI-nxc nl cultural lII'rIIagc, Mccra Syd lIax anII' .I grcal Inh III adaplIng hm hm cl lnr tlIc xI‘I'ccn. Inanagtng In prcxcnc IlIc lUllL‘ nI Inn; quIIIIIcI'x and deplaI‘cd ln)alI_\ IlIaI pI-I'IIII-atcx IlII- hnnk Mnrc pI‘nlIlI'IIIaIII'. hn\\ I'\ cr. Ix lluxc} III uhn llIllltllC\ IlIIx II'IIch‘ (Ullllllg nt-agc IlI‘aIIIa \\IIh all the xulIIII-I) nI .I l.c.IIlIcrlIc.Id crlckcl grnund graxx rnllcr. .\'III'l/I I-[IlIrI/mr'uh .-lr'l\ (‘I'Itl/I'. lat/Irtlturu/I.
Antz Il’(‘II .... IlirII‘ l)arncll. ‘l‘IIn JnlIIIxnn. I‘NSI 'l‘lIc \nII‘I'x nl \Vnnd) .-\l|cII. Sharnn Stnnc. (icnc llacktnan. 83mm.
26 THE LIST : was AI”
Vin Diesel's A Man Apart - yeah, right
\\ lIcn unrkcr .IIII X-Jl‘l,‘ I.-\llcnt IIIchx l’I'IIIt’I'xx llala ISInIIcI. lIc tallx I‘nIIIplI‘II‘l) III lnxc. lIIII. \IlIIlc mm; In pInxc lIIIIIxclt ax a xnldIcr. lIC uncm crx .I IlaxIardl) plan In Ilnnd IlIc InlnII} .IrIt: Ix lIrIglIIl} Inlnurcd and lull nt gagx. xn adultx IxIll tlIIII‘klc \thlc lIIle arc pullcd III h} IlII' xIII'k \(‘llllllllt'l' .IIIIIIIaIInII XII r ("I IlII'H'\. I.II,Ul/’lllL‘}I Arrebato I IM Il\.III Zulucla. Spam. l‘lWI lzuxI'lIIn l’nnccla. (‘I'I'IlIa RnIlI. \VIll \lnII‘ IIISIIIIII ;\ hannr pncnI .Ihnut lllL‘ and Inn- pnI'III .Ihnul c'lllL‘lllII. .lrrt IIIIln Ix IIprIch II} (‘ncIcaIL \\.II‘lInl and I'\plnItaIInII tIlIIIx ,-\ IlII'CI'lIII l‘l llrllltn lC\ IIdIllchd lII L‘L'llulnld and lIL'lUlll I'III'nuIItL'Ix a _\nun:_' llllllllldlxk'l. IIppIIIg; lIIx lIlI' IIIIn .tllt‘lllL‘l IcalIII llalluI’InaInr}. \IxInnar) and “till .I xurrcal xnundltack l‘l/Hl/Irlllu. lat/IrI/turu/I Assunta Spina II’(;I I(lllxl.I\II Scrcna. Ital). I‘llJI l‘raIII‘I-xca llcrIInI 55mm. .'\\\lllll.l Illa-I'IIIIII Ix a pnnll} I'ducatcd \capnltlan \\nIII.III \xhnxc tlII'IaIInIIx Inanncr prnxnkI'x .I Icalnux I'IanI‘I‘I- In lxIll a man. 'I'lIIx prnnIpIx I'nIII‘II'nnIn hIxIrInnch. heartache and \L'll' \acrlllcc .Ix xlIC prnxllllllcx ltcrwll III \.I\ C lIIIII IrnIII a MC III prIxnII 'l'hIx xpcI‘Ial .tlcllHC pr'cxcntattnn Ix \llL‘lll \xItlI Inc IIIIIxII'al .II‘I'IIIIIpaIIIIncnI (if I. (i/Irxurm .' l'I/IrI/IIIIIII‘. lat/IrI/mr'u/I Asterix and the Big Fight II'I ... IKI-IIlI lIIglIaIII. l'K. WWI \\'Ith lllL‘ \UICC\ Ul lllll ()IldtL‘. \llL‘lIIIL'l ltlplllcl'x. Andre“ Sachx. 82mm. .»\xIcrI\ and lIIx hand nl pluck} (lIllllC IIIaII'x Iakc nII IlIc IIIIglII nt lllL‘ RnIIIan .II'III) III IlIIx .IIIIIIIach Icaturc (l (r/IMQIIH Autumn Sonata I ISI.... IlIIgIIIar Bergman. Sucdcn. I‘FXI lIIngd Bergman. l.l\ l'IIIIIaIIn. Lena N)Inan. 02mm. A land nl S“ cdtxlI [J’IIL’ I)It\ '\ .ll'lll'll(’\ lrIlIr XIII/II ax \\nrld I'cnnuncd I‘nnccrt pIanIxI BcrgInan \ Ixle I'xtrangcd daughter l'llInann uhn lIax rcccntl) |an Mr xnII III an achdcnl. Pam and aIIgquh cnxuc ax llIL‘) gnc \Clll In "1le pent-up IruxII'aIInIIx and {LN guIlIx. liwcllcnt phntngraph} h) Swn N}k\IxI. cu‘nI‘IalIng CIIInIInIIaI drama and pccrlcxx [X'I‘I'nI'IIIaIII‘I'x Ingrtd Bcrgtnan'x llnal llllll and mm nt III-r IIIan accnIIIpllech. (il’l. (I'IIIIQIIII .' I’llrrI/quu'. lz‘I/I'rtlmrult. The Banger Sisters I ISI .00 Illnh l)n|IIIaII. l'S. 2003! ('InldIc Ha“ II. SIIxan Sarandnn. 07min. Sackcd I'rnIII lIcr Inh. all Ilrcxxcd up but \\ Ith nn one In lIlIm. I'anIIcr gI'nupIc Surcttc Illa“ III cmharkx on a rnad trip In l’hncnIx In track dn“ II hcr nld hudd} \‘Inntc ISarandnnI ()n the \xa) th: pIckx up llarr} l’luIIIlIcr IRIIth. an nhxcxxnc-I'nIIIpulxIxc xcrccnu rIIcr. and uhcn xlIc dan find her I'clln“ 'Bangcr SIxtI-r'. xlIc. llGC llarr). Ix IIpIIglII and III der nccd nl' lnan-IIIIII: up. On cuc. Ila“ II I'cprIxcx the mic III the lnwahlc I‘rcc-prrII. nIIcc .IgaIII xlIIm Ing nlt lIcr grcat arxc III a lIlIcahlc I‘IIIIIII‘ drama ()Ili'llll. lz'I/Irtlmrju/I. Barbershop I 12m ooo I'I‘IIII Slnr).
[8. 2003! ICC ('uhc. (‘cdrlc Ihc lintcrtatncr. liw. lll3IIIIn. III the cpnnynnux (‘lIIcagn lIIIxIIchx run h} ('alxIII I(‘uhCI. hc. liddIc IlIc harhcr and thc hnyx lIIclxcr. brag and xlInnI lllL' l‘rCC/C. liddlc\ Illxparaglng
cnIIIIIIcnIx .ItInuI Rnxa l’arkx and \larIIn
l uthcr Km; IxthglI cauxcd nuIragc \xtth black prrIIual lcadcrx III the [NI arc nnI IIII'I'IIIlIaI) \crhal IIIIxxIlI'x. lIIII Int-rel) IIllI- IIInIIIlIIII; IInIII Ihc lIaIlII'leInp tlnnI llIII .IlIlIIIttglI llk' IhaIatthx .IrI' paIIIIcIl \xa} Inn lIInaIll} lnI IlIIx In he an} land nt I’II'IlIlIlc xnIIal utlllllk‘llltll'}. IlII'Ic arc I'nnugh dcccnt gagx III x.Ill.IlL‘ laIIx I'l (.Ill\‘\ \lIIIICf {Ulllcd} IIlIlI;\ \I III I {I'I/ II I'I'Ilu'
Bill Douglas Trilogy I III ....
IlIIll [IntIglaxd K. l‘VII 48 55/"8IIIIII 'l‘lIIx IIIn nI tIlIIIx .IlInIII .I lm) gummy up III a lIaleI IIIIIIIII; gnIIIIIIuIIII) II'pchI'IIIx pcrhapx llIC III-alt nI St'nIIleI IIIIIIIIIakIIIg llarc IIaIIaIIxc. xIaIk llll.l:_‘L‘\. paIIItul IIII-IIInI‘II-x IlII- deIIllaIInII nI tI-clIIIg nn xI‘II'cII Ix .Ix I‘lnxc In pnctr} ax I'IIII'IIIa gclx ('IIIIII'II. lat/IrI/IIIIQII
The Blue Room Inn t'I'III .... I\'.II'InIIx. l'K. ZIM‘II 55mm lidInlInglI \lI'dIalIaxI- “Illl IIx IIInIIIlIl) plaltann .II 'l'lII' (LIIIII'n lIclpx pInIIInII- llL'\ll tau-d llllllllldle'l'\. gn Ill}: llIL‘lll a chance tn thInIII) -up SclIna (‘nIlQ 'x IIIKIIIAIIIIIAIIII Ix a IlIIIIll} I'IIgagIng; .InIIIIalI'd IIarIaInI' \xlII'rI' I‘lIaIaI'II-Ix tInIII IlII- xI-a. land and .III I'nllIdI'. (Icahn): IaIII Angela M \ltIIIa) 'x [In (-IIIIII I\ a!) CNN lIIlL' Ill‘l‘lll llIC llL'ld} xchnnl I'lInIr'x llldlld-llle' pnu cr. IIIIprI'xxIxcl) llllllL'd. Duncan RcIInIc and \VIII .-\ndrc“ 'x 1.17! xIII'lIl) prnduccx .I xurrI-al \llL'L' III a InnlIIlc phnnc deIurhaIII‘c and Hum Rnxx' BIII' Ix .III aqutI-l} ((‘llllk‘dl panIIIaII-rcII-IIgc llllll, Sn gn, (in watch. and allIm new lIIlL'lIl In \lllllL‘. Sec II'\ Icu. (‘IIIIII'IL Iz‘I/Irtlturult.
Bona Cornucopia I I5. I\‘;IIIIIIIx. I‘K. 1957) Kenneth \VIllIaIIIx. ‘IIIIIIIII .\l(l\l nt IIx arc taIIIIlIar “llll Kcnncth \VIllIaInx I'rnIII lIIx high camp Ila} x ax .I (‘arry ()II xtalxxart. SnIIIc nl IIx “Ill be l'anIIIIar \\ Ith \VIllIaInx' prnalc lllt‘ through lIIx IIIIII'lI-praIchl dIarch. hut IlIIx t’caIurc-ICIIgIlI cnIanlaIInn nt lclm IxInII appcaraIII‘Cx and filmed pcrIannaIIccx Ix a rare 31cm. rcwahng lIIx IalcnI ax an IIIIprcxxInIIIxI. \nIcc-nwr arIIxI and gun xhnu. gIICxl. l’rlcclc“. (I'I'UI. (i/uwrrn.
Bowling for Columbine I ISI oooo IMIchacl Moore. [8. ZIXIZI | 19mm. The all-cnnqucrIng Mnnrc axkx tlIIx IIIchIInII about Arncrtcar 'Arc \II' a naIInn nI' gun nqu‘.' ()r arc u'c JIIxI IIIIIx'." Prnmkcd h) Ihc m cntx III II) :\pl‘ll 190‘). the da} IlIIrtchI pcnplc \\ crc xhnt dcad h} tun puple at (‘nluInhIIIc lhgh Schnnl III l.IIIlctnII. ('nlnradn and WC Ila) thc l'S conducted IIx lIIrngI hnIIIhIng acIInn III the Knxnxan War. the IIIqIIIxIII\c I'IIIIIIIIakcr and rcIIImncd xaIIrIxI lnnlx'x tar and “Idc In hard In find the anxucrx III xnrnc pretty tough qucxttnnx. ()II the \xa} hc Incclx (lnIlI rnck I‘Igurchcad .\larIl)II Manxnn. Incmhcrx III the \lII‘lIIgaII MIIIIIa who argue that 'thIIg arIIch Ix an .-\IIIcrIcaII rc\[XIll.\lhllll)". and final!) perIdcnI of the NRA. (‘lIarlInII Hextnn. Some may find lIIx xhnck IacIICx and the III dark lIunInur rcprchcnxlhlc. hut ax the 20 April I‘N‘) thmcd. dcxpcratc tIIIIc.x call Mr dCxpcraIc IIIcaxurcx. XI'II'I II'I/ I'I'II'IMI'. Brigadoon Il’(iI .. I\’Inccntc Minnelli. l'S. IVS-4) (Icnc Kcll}. ('yd ('harIxxc. Van JnhIIxnII IUXIIIIII. 'l‘xxn yankx nn vacanan III Scntland dtxcnxcr a xlccp}
\ Illagc that cnIncx IlllVL‘ nncc cxcr} hunder )carx. Rather Ilat and unImnIIIng MIIIIIcllI Inuxical. Cxpchall) III cnIIIparIxnII mth lIIx nIlIcr Sllx \xnrk. \Hlll the uncnnx IncIIIg land unIntcnIInnall) lIIlarInuxI Scnlx hackgrnund the math prnhlcrn. SI BrIr/r'x ('I'rIIrI'. lz'I/I'rI/Iurglt.
Broadway Black Sea IP(;I I\'II;IIIJ' .\lankuj. (icrltigtlI)/RU\\III. 3007“ 84mm. Documentar} capIurIng thc ccccntrtc claxhtng nt' culIurI-x at the rum nt~ Brnadna) nII the Black Sea. “hcrc RUxxIaII and lInlIda} Inakcrx and rct'uch-x from the ('aucaxian rcpuhlch \ IxIt cach qunIncr. I’Ilmhmrse'. Edinburgh.
Turn to page 17 for
offer
Dr Derek Norman takes a fresh look at the art-house c/assrcs of yesteryear currently on re- release. This fortnight. Ingmar Bergman '5 Persona.
Men haw l'lIVIIIIIIIIlSIII "m 1966 class; {Itl'lf‘I .Ii‘l ~II ~tl‘ 't} . than Ingmar Banyna': IIIILIIIIJ .I " ' water bottle Into 'II:; 'llIIllll7 I" I screanIIIIg Into the orchestra I‘I'. E’III'. who's that III the shadows" It}; Vogler. ElIsabeth Vogler played I\, I II. Ullmann), We knav. her Was; an..- no! the charlatan aItIst III BIIIIIIIIIIIIE, l'w Face eIght years IIIeyIIIIIsI, ‘ [in what's thIs’? She's dryrrIII up, she"; corpsIIIg III front (It a IIgIIt Skim." I» I audIeIIce. AtteI these words IIIIaII- .-.I:I be no more.
There's the sea. I-IIth Its llIEEII'IIIIEIIlII’ IIck of dusty seashells. Here's a cottage. Vogler Is now III the care nt Nurse Alma IBIbI Anderssnnt .'.’lI(‘I chatters abOut her sex lIle. Vonler remaIns detached. alone. sIIeIIt. Impenetrable. DIsease eats tune and then slowly, so ‘.€F\, SlOle, a SymbIOSIS OCCurs. We a Venn dIagram chalked by a oneaIIIIed FreudIan: these we worIIeII IIIerge
Out of the mouth of darkness Bergman deIIvered tlIIs. the most complex and dIsturbIIIg VISION of III:; two faVOLIrIte themes: the vast chasm between human beIngs despIte pathetIc attempts at comIIIurIIcatIorI and the fatal. poIntless egocerItIIcIty that hes at the heart of all art.
Persona :5 a dIftIcuIt. corIIpIex. brIIIIant film that lIngeIs We a malIgnant tumour III the codex. Tl‘IIS has a lot to do wan Sven NykyIst's brutal cmematography and Lars Johan Werle's truly bonkers score, But the real truth to the geIIIus IIes III Bergman's Subtle adaptatron of Robert SIodmark's 1939 film PIeges (remade In 19M by DOIIgIas SIIk as Lured). Bergman eerCIsed extreme adaptatronal beIIIgeIence and boHed everythIng down III a Dem dIsh IIIIIII Only the bItterest salt remaIned. Bergman never acknowledged the connectIon between these films. but trust a doctor - It's there.
As for myself, I love thIs him, I have every reason to: my first vrIte left me after I made her watch It wnh an Outrageous hangover. Later she cIted Ullmann III dIvorce proceedIngs. If only that accusatIorI from a VICIOUS mInd had carrIed mm It the rare truth of thIs film's Insanlty.
I Persona plays FIImhouse. Edinburgh Tue 8—Thu 70 Apr: GFT. Glasgow We d30 Apr— Thu 7 May.