The Guardian from London, Greater London, England • 11

GUARDIAN MOVIE 11 Thursday June 14 1984 BRIEFING 1 The adventurous and Harrison Ford in Indiana Jones, and (right) Sandrine Bonnaire in To Our Loves Derek Malcolm reviews Steven Spielberg's Indiana Jones and the Temple of Doom, and the other new releases R3eb ttlhupfiflflfiaag ewconiantteirs of a familial? Hcflnndl Made in 1956 with the unlikely combination of James Stewart and Doris Day as American tourists in French Morocco drawn into international intrigue, it has many more thrills, a lot more humour, a subtlety and professionalism that makes Friday The 13th look like a sack of potatoes. Routine Hitchcock perhaps but what a routine. Tim Pulleine writes: Blake Edwards' The Man Who Loved Women (Studio Oxford Circus, etc, 15) is a Californianised revamping of the 1977 Francois Truffaut film of the same name, which starts off by handicapping itself to the extent of casting Burt Reynolds as a celebrated sculptor and Julie Andrews as the eminent psychiatrist to whom he confides his amatory obsessions. Edwards' film is no less raggedly constructed than was Truffaut's but misses out to boot on its predecessor's incidental virtues of atmosphere and a kind of inner conviction. It is possessed of a certain native skill, but this is hardly enough and nor is an interpolated episode of low bedroom farce to offset the air of jaded irrelevance which makes the proceedings begin to seem interminable.

in an intensely naturalistic vein, links the two worlds it examines that of the children and the parents with a skill that' amounts to much more than mere1 observation. The. film's music is dominated by Purcell and its philosophy echoes de Musset. It speaks of most of the things that extinguish human hope, and also of those that keep it flickering, no matter what. Pialat has a way of making his stories both intensely particular and yet completely universal.

They apply to us all. Every character has a place in the drama, but Bonnaire's Suzanne is inevitably at the centre of it since what she does pushes everybody in turn to excess. It is a constantly surprising performance as, "afraid of having a dry heart," the girl tests herself against a loving father, an hysterically emotional mother and the brother who is powerless-to stop the turmoil. There are absolutely no heroes and villains, just people who either know too much or too little about themselves. What Pialat achieves with his carefully extended and sometimes improvised scenes is not to suggest that there can be a solution but to give us the feeling that emotional isola STEVEN SPIELBERG'S hold on the pulse of his audience continues.

Indiana Jones And The Temple Of Doom (Empire, Leicester Square, PG) is perhaps the least ambitious movie he has made, being virtually a two-hour series of none too carefully linked chase sequences. But such is his present touch, it seems perfectly in tune with what the mass audience wants at this moment from the cinema. It serves that particular purpose with a shrewdness you can't deny. That said, it is impossible not to feel slightly cheated at the end of this darker, more bloody reprise of Raiders Of The Lost Ark. The only imagination that seems to have gone into it lies within the technique with which it is made.

The characters are perfunctory, the story progresses from an unlikely Shanghai nightclub in the Thirties to an extremely improbable Northern India, and Harrison Ford's hero now appears almost as set in his reactions as our own beloved Bond. Only the mechanics seem to matter. Vnn aof 1ht fipAlillfr in fact. that nothing need change in essentials for the series to continue for a decade with the Best films Man of Flowers (Screen on the Hill). Diverting and atmospheric black comedy, made (though you'd hardly think so) in Australia.

White Dog (Filmcenta), Liberal sentiments and dynamic technique in Sam Fuller's powerful melodramatic fantasy. The Terry Fox Story (Various), Direct, affecting, if occasionally sentimental, reconstruction of a disabled athlete's attempt at a trans-Canada marathon. The South (Academy). A spellbinding movie from Victor Erice (maker of Spirit of the Beehive), which proves how gripping abstraction in narrative can be. Heart Like A Wheel (Screen on the Green).

Unassuming, well crafted biopic about woman race driver, with strong central performance by Bonnie Bedelia. Best on TV The Long Hot Summer (BBC-2, tonight, 9 30). Impressive cast (Newman, Remick, Woodward) in well made (though maybe now a bit dated) Hollywood foray into Faulkner-land. After Office Hours (C4, Friday, 11 15). Little known and promising-sounding MGM comedy-thriller from 1935.

scripted by Herman Mankiewicz and starring Clark Gable. Hail the Conquering Hero (C4, Saturday, 2 25). Wartime small-town comedy that was one of Preston Sturges' most inventive and characteristic movies. Key Largo (BBC-1, Sunday, 2 10). Bogart and Edward square off in theatrically atmospheric John Huston melodrama which reaches a morally dubious conclusion.

The Cow (C4, Wednesday, 9 30). Rare chance to see a widely admired Iranian movie from the pre-Khomeini era. New on video JUNE releases from Warner Home Video include Arthur Penn's Alice's Restaurant, Wilder's Avanti and Alan Pakula's enigmatic Roller-over, as well as Michael Apted's British gangster picture The Squeeze, and Con-nery's return to Bondage in Never Say Never Again. Special interest AT THE National Film Theatre, where ace cinema-tographer Vittorio Storaro gives a Guardian Lecture tomorrow evening, the five-hour version of Palmer's Wagner is showing on Saturday and Sunday and the Robert Mitchum retrospective continues (El Dorado and Secret Ceremony both on Wednesday). British cinema history at the Museum of London encompasses the 1935 The Midshipmaid tonight and Olivier and Oberon in Divorce Of Lady on Tuesday.

At the Rio, Dalston. from tomorrow until Sunday, the British independent film Fords on Water shares a programme with Joseph Lewis's remarkable Gun Crazy; from Monday to Wednesday, it's The Right Stuff. At the Kitzy, Brixton, Diane Kurys' At First Sight shows from today to Saturday with The Gold Diggers and from Sunday to Tuesday with Rohmer's Pauline At The Beach. Outside London, Hitchcock's Vertigo continues until Saturday in the Bristol Watershed, with Antonioni's The Passenger tomorrow and Saturday. At the Metro, Derby, P.

Adams Sitney gives an illu-trated lecture on Surrealism in the Cinema on Sunday evening, and on Wednesday a selection of Maya Deren's films will be screened. The Cambridge Arts is showing Swann In Love until Saturday, with another Proust movie. Celeste, as the Saturday matinee; next week the French gangster movie La Balance takes over. At the Anvil, Sheffield, from tomorrow for a week are Koyaanis-qatsi, L'Argent, and The Outsiders. The Tivoli Centre, Eastbourne, screens von Trot-ta's Friends And Husbands on Sunday evening.

At Chapter, Cardiff, the Italian-made Order Of Death shows late from tonight until Saturday, with Mel Brooks's remake of To Be Or Not To Be on for a week from Sunday. Oxford's Museum of Modern Art shows Borzage's Three Comrades next Wednesday. Next Sunday and Monday evenings, Beneix's The Moon In The Gutter is at the Leicester Phoenix and the Lancaster Film Theatre. Tim Pulleine three: Kate Capsliaw, Ke Hwj Quan. fantasy life comes remorselessly true.

They make a nice trio, in spite of an aggravating lack of good linos. All they have to do is reflect what happens to them in roughly the same way as we, the audience, might. That's the secret of this particular film. It is designed to make you gasp at the sheer effrontery of its technique but also at the thought of what you might do if faced with live snake pie, eyeball soup and tandoori beetle Or something more simple like a pit of creepie-crawlies, supplemented by a chamber which crushes both you and them to death until you find the right lever to stop it. Or just one of those rope bridges over cavernous cliffs which breaks at the touch as you cross.

Indiana Jones goes in one eye and out the other with incredible speed, and its momentum is amazing. But when all is said and done, you get the feeling that George Lucas, the executive producer, and Spielberg have had some fun with us and, after doing so, will laugh at their cfieek all the way to Fort Knox. You don't actually resent it, but you do know they can do better. Sitting on IF ANYONE wonders why Richard Burton as Wagner, Vanessa Redgrave as Cosima, and Gielgud, Richardson and Olivier in a unique film appearance together have not so far snared the film and television moguls in Britain, blame it on Wagnerian scale, depth as well as length. Going to Tony Palmer's much-publicised but little-seen film biography of the composer in its nine-hour form is something to recommend warmly to those well grounded in Ring cycles.

That was shown at the National Film Theatre earlier this month. This weekend the NFT is giving the first showing in Britain of the slimmed down, five-hour version of Wagner. The first major difference apart from length is that in place of Andrew Cruickshank, the narrator of the original, John Gielgud provides the links of speech, on the grounds that Americans can understand the clipped consonants of received English but jib at times over Scottish pronunciation even in such a soft accent as Cruickshank's. What still remains a problem is the sheer number of characters that flit in and out, and where and how they stand in relation to Wagner. Even someone who has read about Wagner's life in detail before- the edge of your seat gives you a sore bum but also a numb brain.

Maurice Pialat's To Our Loves (Camden Plaza, 15) gives you neither, being an exposition of how the young exactly reflect the uncertainties of the adult world, which seems painfully accurate but pleasurably romantic at one and the same time. When the definitive history of the French cinema of the past 25 years comes to be written. Pialat deserves a large chunk of it to himself. He is able to link the past and the present like no other but Truffaut and he does so with little of that director's overlay of applied charm. This is principally the story of a child-woman (Sandrine Bonnaire) who refuses to love the boy who loves her, embarks instead on a spree of erotic adventure and thus mortifies' herself as well as her provincial family.

If she can't feel real emotion, she'll play games with it. Meanwhile her father (Pialat him-self) leaves her mother (Evelyne Ker), and her brother (Dominique Besne-hard) is reduced to desperation in his attempts to preserve the peace. The film, brilliantly acted Tony Palmer's epic Wagner, cut to Save hours, is being shown this weekend. Edward Greenfield reports HBack nrm the IRnirag hand will often have to think hard who this or that character is. It helps that Palmer has so judiciously played the game of "spot the star." So the new version has promoted to very near the beginning the scene in Munich when Wagner (in court livery) goes to his publisher, and Arthur Lowe (for it is he) does a Bavarian Captain Mainwar-ing on him.

your JulyHbooklet ACADEMY I CCI I IMI'C Oxford St 437 2981 I kbkllil h9 AND THE SHIP SAILS ON A GALA RELEASE pc "The opening is in itself worth the price of admission. grandiose Fellinian divertissement" THE TIMES A flamboyant fantasy that, for all its deeply felt meaning, is primarily enormous fun" DAILY MAIL "Marvellously entertaining" daily express "Unique, curious, ingratiatingly charming" time out tion is the real terror of family life, and that it isn't given to everyone to love properly. And somehow he achieves this without pessimism, cynicism or bitterness. In a way, he has made a passionate film about a lack of passion and the dinner scene in which father returns' and baits each in turn is the perfect expression of this. No-one wishes to take him up, until his wife finally orders him out of the To Our Loves, though not specifically a portrait either of young people or of family life, says more about both than a hundred other movies.

Pialat is a film-maker of real vision, the antithesis of Truffaut and in many ways his superior. I'm glad that the French Cesar for Best Picture and the Prix Delluc have compensated for the blindness of the Berlin Film Festival jury who unaccountably refused the film a prize. Friday The 13th The Final Chapter (general release, 1.8) looks as though it may not be. But hope springs eternal. Far better to take another look at the second (American) version of Hitchcock's The Man Who Knew Too Much (Electric Screen PG).

Burton and Vuncssa Redgruve times self-indulgent, camerawork of Vittorio Storarb. For the Wagnerian it will be enough to have so many key scenes shot vividly in the original locations in Munich, Venice, Switzerland and elsewhere. In the five-hour version the film is conveniently divided into two halves, when the years of penury and problems in exile after the 1848 uprising in Munich (with which the film starts the story) are finally about to be resolved with the arrival of the mysterious messenger (Gielgud himself) from the young King Ludwig of Bavaria. From then on the dramatic scheme grows more consistent even within the episodic framework. Where in the first half Wagner's relationship with his first wife Minna, increasingly dependent on laudanum, is less moving than it might be in spite of i Gemma Craven's nicely "THE MOST STIRRING HOLLYWOOD Ml OF THE YEAR" same swingehigly successful results.

This is oddly dispiriting until you pinch yourself and remember that Spielberg made Duel, Sugarland Express and 1941 before becoming a regular golden boy, and that Close Encounters was more of a risk than it might seem with hindsight. One just hopes that success doesn't close most of his options, just as much as failure can for others. Indiana Jones is designed purely and simply to keep you on the edge of your seat for its duration. It's a weirder movie than Raiders, though not lacking the same almost throw-away humour. Accordingly, our Censor has asked and got some cuts in order to pass it for a PG rather than 15 certificate which would have restricted its audience.

It is intended for children, but of all ages. The more open the certificate, though, the more of them there will be. Ford's intrepid archaeologist is this time accompanied on his adventures by Kate Capshaw's nightclub singer, forever either worried about her nails or screaming when the world's wilder animals or crawlier insectry jump or wriggle into view, and by Ke Huy yuan small noy, wnose Loves 15 ft A NOS AMOURS developed portrait, the later relationships spring to life. It is uncanny how closely the young Hungarian, Laszlo Galffi, resembles the real Ludwig. His acting carries total conviction, conveying wistful naivety with royal arrogance.

When Gielgud, Laurence Olivier and Ralph Richardson combine as a tough and unforgettable trio of commentating courtiers, the insecurity of the king, whose adoration was matched only by his attraction to handsome young guardsmen, becomes very moving. What matters from first to last is Richard Burton as Wagner himself. Improbable as such casting might have seemed in advance Wagner was little taller than a dwarf the result is totally convincing. Though Burton the charmer may mute the sheer nastiness of Wagner his megalomaniac self-obsessions, he certainly explains the magnetism, the reason why so many prostrated themselves before him. Stature hardly matters anyway in the second half, when Vanessa Redgrave so towers over Burton, as Cosima must have done over her Richard.

There you have another improbable piece of casting that proves inspired, and such vignettes as Ekke-hardt Schall's Liszt, Ronald Pickup's Nietzsche, Vernon Dobtcheff Meyerbeer, Jean-Luc Moreau's Petipa, and Joan Plowright's Mrs Taylor are all treasurable. As for the musical score, made up largely of excerpts played by Sir Georg Solti and the London Philharmonic Orchestra, it may irritate those who expect the Wagner pieces to relate in time to the relevant part of the story-Wagner (the five-hour version) will be screened at the NFT this Friday and Saturday at 4 30 pm. ACADEMY 2 Oxford Street 437 5129 Victor Erice's THE SOUTH A Triumph: "Erice evidently only makes masterpieces" DAILY TELEGRAPH "The dramatic Impact of gorgeous image and tantalising message is enormous" TIME OUT "Easily the most extraordinary film of the week Physically ravishing" GUARDIAN "Lovely of amazing delicacy" OBSERVER "A beautifully told, achingly poignant I am still haunted by it" Sunday express EMERGENCY ANNOUNCEMENT ACADEMY 3 Oxford Street '437 8819 PARVIZSAYYAD'S sensational, prize-winning THE MISSION A PALACE RELEASE "Immense power. A gripping, clever and thought-provoking film" Sunday times "No film-maker deservesgreater honour" guardian "A masterly thinking man's thriller" daily mail "Beautifully constructed and written" DAILY TELEGRAPH FILM THEAT MrandMrs Wagner: Richard Though such early fancies as having Sir William Walton as the King of Saxony wake up and complain of Wagner's infernal din have now disappeared, the new opening sequences still demand more narration. With a synopsis by your side you can work it out, but an extra word or two from Gielgud would be much better.

In effect this is not really a film at all in any conventional sense but a biographical pageant, made grand and involving not just by the star cast but by the glorious, if at 10th GREAT WEEK! Only time could change the cruelty of only their Love could survive it ASH0HII IMAMURA FILM The Sep.petts200tNotSon)$OOB15 UleNigMSrawSal Mlh JuneMStm FOeefTT AITMAH SEASON-WifnmBeill JulCMt McCASt end MM MlLER i NOW SHOWING film all. 55 4.10 6.25 8.45 daily Due to the postal dispute SHE DID SOMETHING WOMEN WERE DO AND BECAME CHAMPION AND THOROUGHLY AHrNT film of steely strength' and postal ticket applications may oe aeiayea (including bookings already mailed). Please collect programmes from: National Film Theatre, South Bank. SE1 British Film Institute, 127 Charing Cross Road, WC2 British Film Institute, 81 Dean Street, Wl National Film Archive, 18-20 St Dunstan's Road, South Norwood, SE25 or Barbican Cinema The Ritzy Cinema Electric Screen Scala Cinema Club Everyman Cinema Screen on Baker Street Gate, Notting Hill Gate Screen on the Green ICA Cinema Screen on the Hill Ticket applications can be left only at these BFI locations. Written applications will be dealt with from IS June.

Don't forget to add your workhome telephone number for booking confirmation. July programme details will be advertised weekly from 21 June in TIME OUT if the postal dispute continues. Personal and telephone bookings are open as usual from 25 June at the NFT. PLEASE PASS ON THIS NEWS TO YOUR FRIENDS BOX OFFICE TELEPHONE NUMBER: 928 3232 11.30-20.30 Geoff Brown THETIMES Prix Louis Delluc 1983 PICTURE e'Deeu awrlBBN Village Voice If II iia i SaM 5 UJ I a1m mm A FORBIDOENTO A WORLD LIVELY To Our STARTS TODAY 'A Directed "THE BEST EFFORT OFITS" TYPE SINCE 'COAL rVf mm -f OAUUriltlH' OFTHE YEAR'S 10 BEST' NOW SHOWING UA55K -titrate-. LA- ENTERTAINING D.Mtll "PUT TOGETHER LIKE A PERFECTLY TUNED BRILLIANTLY, F.XImn 0N RDrru Islington nEunBcn 226 352o Cesar Award 1984 for Best Picture by MAURICE PIALAT luring SANDRINE BONNA1RE EngtiihiubWIei Film at 2.05 4.1 6,30 8.S0 daily OPPOSITE TUBE STATION CHHLSEA'CINEMA 3513742 CAMDEN CAMDEN TOWN 839 1527.