The Story of a Murderer 2.20, 5.10, 8.00 the Wizard of Oz3.00 Shortbus 5.00 Manhattan 7

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RACHEL HURD-WOOD IN TOM TYKWER’S FILM OF PETER SÜSKIND’S NOVEL

PERFTHE STORY OF AUME MURDERER

NEW RELEASES: SHORTBUS - PAN’S LABYRINTH - REQUIEM - SPECIAL - CANDY - GABRIELLE FREE SPECIAL EVENTS: GERMAN FILM FESTIVAL - BOLLYWOOD FILM: DON PR

NEW 35MM PRINTS: THE WIZARD OF OZ - MANHATTAN OG

IRISH FILM ARCHIVE ‘DID YOU MISS?’ SERIES: IRISH DESTINY - SOUTH - JACQUELINE - PADDY RAMME - AT SWIM-TWO-BIRDS - GIRL WITH GREEN EYES 8734 IFI DEC Prog 21/11/2006 15:22 Page 3

CINEMA 1// CINEMA 2// 1 FRISHORTBUS 2.00, 4.10, 6.20 PAN’S LABYRINTH 3.30, 6.00, 8.30 WARCHILD8.30 2 SATDON 12.00 SHORTBUS 2.00 SHORTBUS 4.10, 8.45 BEHIND THE COUCH4.30 PAN’S LABYRINTH 6.10 SUMMER IN BERLIN 6.30 PAN’S LABYRINTH 8.30 3 SUN DON12.00 SHORTBUS 2.00 SHORTBUS 4.10, 8.45 GRAVE DECISIONS4.30 PAN’S LABYRINTH 6.10 HOUNDED 6.30 PAN’S LABYRINTH 8.30 4 MON SHORTBUS 2.00, 4.10, 8.45 DON 1.00 PAN’S LABYRINTH 6.10 PAN’S LABYRINTH 3.30, 8.30 WINTER JOURNEY 6.30 5 TUES SHORTBUS 2.00, 4.10, 8.45 PAN’S LABYRINTH 1.30, 3.45, 8.30 PAN’S LABYRINTH 6.10 GHOST FATHERS 6.30 6 WED SHORTBUS 2.00, 4.00, 8.50 PAN’S LABYRINTH 3.30, 6.00, 8.30 INTO GREAT SILENCE 6.00 7 THURS SHORTBUS 2.00, 4.10, 8.45 PAN’S LABYRINTH 2.00, 8.30 REQUIEM7.00 LAST TO KNOW5.00 SHORTBUS 6.25 8 FRIPAN’S LABYRINTH 2.00, 6.30 REQUIEM2.00, 9.00 SHORTBUS 4.20, 8.45 SPECIAL [+ WHAT IF?] 4.00 RHYTHM IS IT! 6.00 9 SATIRISH DESTINY2.30 SPECIAL [+ WHAT IF?] 2.50, 6.50 SHORTBUS 4.20, 8.45 REQUIEM5.00, 9.00 PAN’S LABYRINTH 6.30 10 SUN SOUTH 2.30 SPECIAL [+ WHAT IF?] 2.50, 6.50 SHORTBUS 4.20, 8.45 REQUIEM5.00, 9.00 PAN’S LABYRINTH 6.30 11 MON LITTLE WOMEN (1949) 11.00 SPECIAL [+ WHAT IF?] 2.50, 6.50 PAN’S LABYRINTH 2.00, 6.30 REQUIEM5.00, 9.00 SHORTBUS 4.20, 8.45 12 TUES PAN’S LABYRINTH 2.00, 6.30 SPECIAL [+ WHAT IF?] 2.50, 6.50 SHORTBUS 4.20, 8.45 REQUIEM5.00, 9.00 13 WED PAN’S LABYRINTH 2.00, 6.30 SPECIAL [+ WHAT IF?] 2.50 SHORTBUS 4.20, 8.45 REQUIEM5.00, 9.00 JACQUELINE6.40 14 THURS PAN’S LABYRINTH 2.00, 6.30 SPECIAL [+ WHAT IF?] 2.50, 6.50 SHORTBUS 4.20, 8.45 REQUIEM5.00, 9.00 15 FRI THE WIZARD OF OZ2.20 PAN’S LABYRINTH 2.15 SHORTBUS 4.20, 8.45 CANDY4.30, 8.40 PAN’S LABYRINTH 6.30 REQUIEM6.50 16 SAT THE WIZARD OF OZ2.20 PAN’S LABYRINTH 2.15 SHORTBUS 4.20, 8.45 CANDY4.30, 8.40 PAN’S LABYRINTH 6.30 REQUIEM6.50 17 SUN THE WIZARD OF OZ2.20 PAN’S LABYRINTH 2.15 SHORTBUS 4.20, 8.45 CANDY4.30, 8.40 PAN’S LABYRINTH 6.30 REQUIEM6.50 18 MON THE WIZARD OF OZ2.20 PAN’S LABYRINTH 2.15 SHORTBUS 4.20, 8.45 CANDY4.30, 8.40 PADDY6.45 REQUIEM6.50 19 TUES THE WIZARD OF OZ2.20 PAN’S LABYRINTH 2.15 SHORTBUS 4.20, 8.45 CANDY4.30, 8.40 AT SWIM-TWO-BIRDS 6.45 REQUIEM6.50 20 WED WILD STRAWBERRIES11.00AM PAN’S LABYRINTH 2.15 THE WIZARD OF OZ2.20, 6.45 CANDY4.30, 8.40 SHORTBUS 4.20, 8.45 REQUIEM6.50 21 THURS THE WIZARD OF OZ2.20 PAN’S LABYRINTH 2.15 SHORTBUS 4.20, 8.45 CANDY4.30, 8.40 PAN’S LABYRINTH 6.30 REQUIEM6.50 22 FRITHE WIZARD OF OZ2.20, 6.30 CANDY2.40, 6.50 SHORTBUS 4.20, 8.45 GABRIELLE 4.50, 9.00 23 SAT THE WIZARD OF OZ3.00, 7. 00 CANDY2.40, 6.50 SHORTBUS 5.00 GABRIELLE 4.50, 9.00 MANHATTAN 9.00 24 SUN CINEMA CLOSED CINEMA CLOSED 25 MON CINEMA CLOSED CINEMA CLOSED 26 TUES CINEMA CLOSED CINEMA CLOSED 27 WED PERFUME: THE STORY OF A MURDERER 2.20, 5.10, 8.00 THE WIZARD OF OZ3.00 SHORTBUS 5.00 MANHATTAN 7. 00 GABRIELLE 9.00 28 THURS PERFUME: THE STORY OF A MURDERER 2.20, 5.10, 8.00 THE WIZARD OF OZ3.00 SHORTBUS 5.00 MANHATTAN 7. 00 GABRIELLE 9.00 29 FRI PERFUME: THE STORY OF A MURDERER 2.20, 5.10, 8.00 MANHATTAN 3.00 GABRIELLE 5.00, 9.00 GIRL WITH GREEN EYES 7. 00 30 SATPERFUME: THE STORY OF A MURDERER 2.20, 5.10, 8.00 MANHATTAN 3.00, 7. 00 GABRIELLE 5.00, 9.00 31 SUN PERFUME: THE STORY OF A MURDERER 3.00, 6.00 MANHATTAN 3.00, 7. 00 GABRIELLE 5.00 8734 IFI DEC Prog 21/11/2006 15:22 Page 4

IFI CINEMAS // CONTENTS IFI EDUCATION & ACCESS//

Dedicated to promoting Irish films to audiences of all IRISH FILM ARCHIVE: DID YOU MISS? 2 ages from 5-100, in the school curricula, to elderly movie- SHORTBUS 3 goers, to parents-with-babies, and particularly to villages, towns and cities throughout the regions of Ireland. PAN’S LABYRINTH 3 BOLLYWOOD FILM: DON3REEL IRELAND// REQUIEM 4 Curated by the IFI, Reel Ireland facilitates the screening of Irish Films (from new releases to the best of our SPECIAL 5 Archive) to countries all over the world. See CANDY 5 www.reelireland.ie for more. THE WIZARD OF OZ6 IRISH FILM ARCHIVE// MANHATTAN 6 Housed in the vaults underneath the IFI premises in GABRIELLE 7Temple Bar, The Irish Film Archive collection incorporates PERFUME: THE STORY OF A MURDERER 7 all aspects of indigenous film production, ranging from feature to documentary to newsreel to amateur and IRISH FILM ARCHIVE 8 experimental films, dating from 1897 to the present day. Anyone is welcome to avail of our research facilities with WILD STRAWBERRIES FILM CLUB8an appointment. Call 01-6795744. IRISH SCHOOLS 9 IFI EDUCATION AND ACCESS 10-12 LIBRARY// The IFI houses the Tiernan MacBride Library, the largest WHEN YOU NEED TO BE A MEMBER selection of reference material on film in this country. OF THE IFI, AND WHEN YOU DON’T It can be used by appointment. For opening hours and occasional admission charges call 01-6795744. 1 Around / 3 of our films are classified by the Irish Film Censor and are open to the general public; you just CAFE// OPEN FOR LUNCH AND DINNER walk in and buy a ticket, same as at any cinema. The rest are ‘unclassified’ films, and these require 10am to 12pm - KITCHEN CLOSES AT 9pm membership.You have two options: VENUE INFORMATION: The programme is occasionally subject € € to change. Please check press advertisements IFI ANNUAL MEMBERSHIP: 20 or 15 concessions or call the Box Office. • Entitles you to buy 1 + 3 friends’ tickets for unclassified films. ADMISSION FEES: These apply to regular IFI screenings, and do not necessarily apply to special events or festivals. • Invitations to sneak previews screenings. Reduced admission fees for annual members and guests are • IFI programme sent to your home. detailed in brackets. • Discount on tickets. MONDAY - FRIDAY • Free cinema ticket (off-peak use). 2pm to 6pm - € 7. 50 (€ 6.75)Conc. € 6 ( € 5.40) 6pm to 10pm - € 8 ( € 7. 20)Conc. € 7. 50 (€ 6.75) DAILY MEMBERSHIP: € 1 per person each time you come to the IFI for unclassified films. SATURDAY – SUNDAY 2pm to 4pm - € 7. 50 (€ 6.75)Conc. € 6 ( € 5.40) 4pm to 10pm - € 8 ( € 7. 20)Conc. € 7. 50 (€ 6.75) German Film Festival € 9 a Ticket ADVANCE BOOKING: Credit Card bookings taken between 1.30pm and 7.30pm on (01) 6793477 www.ifibooking.ie FULL WHEELCHAIR ACCESS & SOUND LOOPS Installed LATECOMERS POLICY: Films start at the times stated on the adjacent pages. Latecomers may be refused admission after IFI, 6 Eustace Street, Temple Bar, Dublin 2. the start of the feature. Box Office: (01) 679 3477 www.irishfilm.ie

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IRISH FILM ARCHIVE// DID YOU MISS?

OUR MONTHLY SCREENINGS FROM THE IRISH FILM ARCHIVE HAVE RECENTLY BEEN SO POPULAR THAT MOST SCREENINGS HAVE SOLD OUT AND LEFT MANY OF YOU DISAPPOINTED. IF YOU WERE ONE OF THOSE WHO COULDN'T GET A TICKET LAST TIME, WE'RE GIVING YOU A SECOND CHANCE TO SEE SOME OF THESE FILMS THIS DECEMBER.

IRISH DESTINY// DIRECTOR: GEORGE DEWHURST

Screened with live orchestral accompaniment to tremendous public and critical acclaim in the National Concert Hall earlier this year, Irish Destiny is the most significant film made in Ireland in the silent period. Its release in 1926 coincided with the 10th anniversary of the Easter Rising. A love story played against the backdrop of the War of Independence, it ingeniously incorporates newsreel footage of the Black and Tans and the burning of Cork within the dramatised narrative. For decades believed lost, the Irish Film Archive has now restored Irish Destiny —including the painstakingly hand-tinted sequences—to its original glory, with Mícheál Ó Súilleabháin’s recently-recorded score. SAT - DEC 9 - 2.30PM B&W & COLOUR • 74 MINS • 1926 SOUTH// DIRECTOR: FRANK HURLEY

Filmed by expedition member Frank Hurley, South chronicles the attempt by Shackleton and his team of 27 men to cross Antarctica via the South Pole. The film records the plight of Shackleton’s team when their ship Endurance was crushed by heavy ice, leaving them stranded for almost two years and fighting against conditions that made survival look impossible. This print was recently restored by the British Film Institute, and played here last month to a packed house. B&W • 80 MINS • 1914 FRI - DEC 10 - 2.30PM

PADDY// DIRECTOR: DANIEL HELLER

Adapted by Lee Dunne from his notorious novel Goodbye to the Hill, Paddy was banned by the Irish censor in 1970 due to its sexual frankness. This year, the ban was lifted and the film issued with a 12A cert—allowing it to finally receive its Irish premiere. It stars Abbey actor Des Cave as an ‘Irish Alfie’ who lives with his mother, sister and brothers, but spends most of his time seducing a succession of women around Dublin, including a well-heeled widow (Maureen Toal) a blonde English masochist and nice girl Maureen (Dearbhla Molloy). B&W • 97 MINS • 1969 MON - DEC 18 - 6.45PM

AT SWIM-TWO-BIRDS// DIRECTOR: KURT PALM

Many would be fazed by the difficult task of adapting Flann O’Brien’s beer-soaked, brilliantly funny modernist masterpiece for the screen. However, Austrian avant-garde theatredirector Kurt Palm succeeds in being faithful to the spirit of the novel, whilst giving visual and dramatic substance to O’Brien’s creations. It sold out when screened during the city-wide Flann O’Brien celebrations in May and many were left disappointed. COLOUR •GERMAN WITH SUBTITLES • 90 MINS • 1997 TUES - DEC 19 - 6.45PM

GIRL WITH GREEN EYES // DIRECTOR: DESMOND DAVIS

Rita Tushingham confirmed her status as British cinema’s favourite quirky ingénue in this adaptation by Edna O’Brien of her autobiographical novel The Lonely Girl. Shot on location in Dublin and Wicklow, Girl with Green Eyes details the exploits of a shy County Clare girl (Tushingham) and her exuberant flatmate (Lynn Redgrave) as they explore the temptations of city life – which include the charms of wealthy SAT - DEC 29 - 7.00PM older man Eugene Gaillard (Peter Finch). B&W • 91 MINS • 1964 2 8734 IFI DEC Prog 21/11/2006 15:22 Page 6

SHORTBUS// PAN’S LABYRINTH//(EL LABERINTO DEL FAUNO) DECEMBER 1 - 28 DECEMBER 1 - 21 DIRECTOR - JOHN CAMERON MITCHELL DIRECTOR - GUILLERMO DEL TORO

DIRECTOR JOHN CAMERON MITCHELL FOLLOWS HEDWIG VERY FEW FILMS JUSTIFY THE DESCRIPTION ‘A WORK OF ART’; AND THE ANGRY INCH WITH A SEXUALLY EXPLICIT THIS MAGICAL ADULT FAIRY TALE FROM DIRECTOR GUILLERMO ENSEMBLE PIECE ABOUT AN ASSORTMENT OF NEW DEL TORO IS ONE OF THEM. YORKERS WHO PURSUE THEIR DREAMS AND HANG-UPS AT ‘SHORTBUS’, A POLYSEXUAL SALON WHERE LITERALLY A companion piece to del Toro’s earlier film The Devil’s ANYTHING GOES. Backbone, Pan’s Labyrinth blends a brutally realistic portrait of post-civil war Spain with a child’s-eye view of a fantastical To an effortless cool soundtrack, a camera swoops and realm ruled over by a towering goat-like figure. A film of sweeps through a charmingly animated New York exquisite beauty, savage truth and intense emotion, it cityscape, before introducing us to the in flagrante explores—in a way that is at once playful and profound—the characters at the heart of John Cameron Mitchell’s playful conflict between the anarchic freedom of creative imagination pansexual study of modern relationships. Shortbus is “a and the spirit-crushing conformity of fascism. salon for the challenged and gifted”, presided over by Mistress Justin Bond. Louche and lively, it’s the place This fascism is personified by Captain Vidal (Sergi López), to where characters come together (pun intended) to join in whom the twelve-year-old Ofelia (Ivana Baquero)—following all manner of erotic acts, or simply to share in the music the remarriage of her widowed mother Carmen—is now a and campy chat. frightened, reluctant stepdaughter. Isolated in a woodland cabin, where the captain and his soldiers are viciously At the heart of the film is the conundrum of why modern mopping up the last pockets of Republican resistance, Ofelia city folk have such difficulty opening up emotionally, even escapes into a world ruled over by the teasing faun, for whom when physical barriers are broken down. There’s Sofia, the she performs tests involving a monstrous belching frog, a pre-orgasmic couples counsellor who’s faking it with her faceless Pale Man with eyeballs in the palms of his hands, husband; Severin, the unhappy dominatrix who can’t let and an ancient labyrinth. If she succeeds, Ofelia will prove she anyone get close; the Jamies, a long-term gay couple is a long-lost princess, and will achieve immortality. considering opening up their relationship; as well as a Meanwhile, Ofelia’s frail, pregnant mother sickens by the day, motley assortment of more minor characters (the former threatening the macho captain’s all-consuming desire for a Mayor of New York is a particular favourite). Their male heir. dilemmas and encounters are woven together with great warmth and wit, and whilst the film concentrates on the Conceived and executed with deep love and breathtaking characters’ sexuality, it does pack real emotional force. technical genius, Pan’s Labyrinth is a heartbreaking film Whatever your take on its polymorphous pleasures, about the destruction of beauty and innocence by hateful Shortbus (both movie and club) has great lines, great philistinism; about stark moral choices; and about the life- music, a joyful feel, and a rendition of “The Star Spangled affirming power of stories and our belief in them. Banner” that’s in a league of its own.—Sandra Hebron. —Nigel Floyd.

U.S.A. • 2006 •COLOUR •DOLBY DIGITAL STEREO •101 MIN SPAIN-MEXICO • U.S.A. • 2006 • SUBTITLED • COLOUR • DOLBY DIGITAL STEREO • 119 MIN

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DON// REQUIEM// DECEMBER 2, 3 (12.00), 4 (1.00) DECEMBER 7 - 21 DIRECTOR - FARHAN AKHTAR DIRECTOR - HANS-CHRISTIAN SCHMID

THE ORIGINAL DON (1978) WAS A BOLLYWOOD ACTION MOVIE ALTHOUGH BASED ON THE SAME DOCUMENTED CASE OF INSPIRED BY JAMES BOND FLICKS. FOR THIS FLASHY NEW ‘DEMONIC POSSESSION’ AS THE CRUDE HOLLYWOOD VERSION, JAVED AKTAR HAS UPDATED HIS OWN 30-YEAR-OLD SHOCKER THE EXORCISM OF EMILY ROSE, HANS-CHRISTIAN SCRIPT ABOUT AN UNDERWORLD KINGPIN AND HIS HAPLESS SCHMID’S RESTRAINED NATURALISTIC DRAMA FORGOES DOUBLE, WITH CURRENT SUPERSTAR SHAH RUKH KHAN GENRE CLICHÉS AND SUPERNATURAL TRAPPINGS. AS A REPLACING AMITABH BACHCHAN IN THE LEADING ROLE, AND RESULT, IT ACHIEVES A MORE INVOLVING EMOTIONAL DIRECTING CHORES HANDLED BY AKTAR’S SON FARHAN. INTENSITY AND A MORE TROUBLING METAPHYSICAL AMBIGUITY. When criminal mastermind Don (Khan) is seriously injured during a police chase, he’s hidden away by his superior and Emily Rose was merely a suffering victim. By contrast, replaced by Vijay (also Khan), a local bumpkin who is his Requiem centres on an extraordinary portrayal of the 21- spitting image. But when the man shielding him dies, Vijay year-old Michaela by stage actress Sandra Hüller. Making realises both the police and Don’s mafia enemies are out to nab him. As a cat and mouse trail ensues around Paris, her film debut, Hüller is utterly convincing as the Malaysia and India, it’s up to you to decipher how the fake Don confused epileptic girl who experiences powerful seizures can prove his innocence before avenging adversaries karate and terrifying hallucinations. When Michaela belatedly chop him to death. enters university, she is separated for the first time from her loving father, controlling mother and God-fearing rural Don uses the classic ‘masala’ formula, a term that describes community. Reluctantly befriended by the worldly Hanna an intentionally clashing mishmash of generic elements, (Anna Blomeir), Michaela tries to forge an independent including lavish musical numbers. There are numerous identity. But her secretive and erratic behaviour stretch references to the old Don, but this version is also aimed at a even her new boyfriend Stefan’s patience to the limit. Her new generation. fragile equilibrium shattered by a fraught family INDIA •2006 •SUBTITLED •COLOUR •ANAMORPHIC Christmas, a crucial holiday assignment and Hanna’s •DOLBY DIGITAL STEREO •169 MIN temporary ‘abandoning’ of her, Michaela stops eating, comes off her medication and suffers a breakdown. Back DECEMBER 8 (6.00) in the stifling bosom of her family, she re-embraces the RHYTHM IS IT!// comforting certainties of her faith, and submits to a series NE DIRECTORS - THOMAS GRUBE, ENRIQUE SANCHEZ LANSCH of exorcisms performed by an ambitious young priest.

W During his first season as conductor of the Berlin Philharmonic, Casually evoking the authentic 1970s German setting REL Simon Rattle collaborated with choreographer Royston Maldoom in a performance of Stravinsky’s “Rite of Spring” with some 250 Berlin through clothing and music (Deep Purple, Amon Düül), schoolchildren of disparate ages, ethnic backgrounds and virtually Schmid subtly and intelligently explores the complex EA no experience with classical music or modern dance. This jubilant societal, familial and religious pressures which Michaela is

SE// documentary traces the multi-stranded preparations, highlighting the vibrant personalities of Rattle, Maldoom and a handful of the unable to reconcile. Yet Bernd Lange’s delicately balanced students as chaos is transformed into order under the driving screenplay also leaves open the possibility that her fits rhythm of Stravinsky’s primordial score. and visions may be signs of a genuine ‘possession’. GERMANY • 2004 • SUBTITLED • COLOUR • DOLBY DIGITAL STEREO • 100 MINS —Nigel Floyd. THIS FILM SHOWS AS PART OF THREADS, A DYNAMIC SEASON OF DANCE EVENTS PRESENTED BY COISCÉIM DANCE THEATRE SEE WWW.COISCEIM.COM FOR DETAILS. GERMANY • 2006 • SUBTITLED • COLOUR • DOLBY DIGITAL STEREO • 93 MIN 4 8734 IFI DEC Prog 21/11/2006 15:22 Page 8

SPECIAL// CANDY// DECEMBER 8 - 14 DECEMBER 15 - 23 DIRECTORS - HAL HABERMAN, JEREMY PASSMORE DIRECTOR - NEIL ARMFIELD

A BACK-TO-BASICS SUPERHERO MOVIE? HARD TO IMAGINE SPIDER-MAN OR THE X-MEN WITHOUT THEIR GAZILLION- OUTSTANDING PERFORMANCES FROM HEATH LEDGER AND DOLLAR BUDGETS AND WALL-TO-WALL CGI, BUT THIS ABBIE CORNISH (SHOWING THAT SOMERSAULT WAS NO ENGAGING FANTASY HAS A GO AT IT ANYWAY. FLUKE) KEEP THIS CHRONICLE OF ADDICTION ROOTED IN THE PERSONAL, LARGELY EVADING THE CLICHÉS OF THE Meet Les, traffic warden by day—until he signs up for a ‘DRUG MOVIE’ FORMULA. clinical trial of a new drug, Specioprin Hydrochloride (or ‘Special’ for short), intended to suppress the chemicals in There’s the initial rush, of course, which is all sunlight and the brain responsible for creating self-doubt. Soon he’s youthful passions, before the routine of scoring puts levitating above his sofa, passing through walls, and Cornish on the streets to pay for their heroin, whereupon telepathically attuned to the thoughts of passers-by. As a their slide into total abjection proves chastening enough die-hard comics fan, he naturally gets himself a costume to encourage them to kick the habit. A familiar pattern, and ventures out into the mean streets to fight for truth then, but it could hardly be otherwise given the and justice, or at least stop some hoodie holding up the substances involved. Yet the freshness of the film lies all-night grocery store. more in its nose for the recesses of character, how the junk’s there to fill the yearning absences the past has left Is this guy for real? You’re entitled to ask, especially since painfully unresolved. Cornish eventually confronts her leading man Michael Rappaport has thus far played demons in scenes of searing rawness which still seem a mainly wormy supporting parts. Indeed, first-time surprise coming from this figure of such doe-like delicacy, writer/director team Hal Haberman and Jeremy Passmore but Ledger’s damped-down precision is almost as work considerable comic mileage from the gulf between striking—by showing so little, he somehow tells us Les’s perceptions and what the other characters make of everything. his self-styled ‘powers’. With its deadpan wit and lo-fi visuals, the film’s willing to risk being dismissed as some Director Neil Armfield’s stage experience in Australia artful curiosity, yet it’s actually a compassionate look at perhaps explains the excellence of the acting here— the everyday feelings of inadequacy and powerlessness there’s also another standout from Geoffrey Rush as a which have long since spawned the superhero action university professor who likes to take his chemicals home fantasies from the popular imagination. Rappaport puts with him—though his film is visually thought-through too, his soul into it, takes many a pratfall for his pains, and will with adept shifts in the colour palette reflecting the almost make you believe a man can fly—if he really, couple’s downward spiral, and a strikingly portentous really sets his mind to it.—Trevor Johnston. opening sequence at a Sydney funfair. The fact we also get to hear Tim Buckley’s “Song to the Siren” twice counts U.S.A. • 2006 • COLOUR • DOLBY STEREO • 90 MIN as a seductive bonus to a film that’s already confidently achieved.—Trevor Johnston. PLUS SHORT IRISH FILM WHAT IF? // Director Alan Walsh and writer Columb Farrelly’s award- AUSTRALIA • 2006 • COLOUR • DOLBY DIGITAL STEREO • 108 MIN winning short about two struggling stuntmen who decide to write their own script.

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THE WIZARD OF OZ// MANHATTAN// DECEMBER 15 - 28 DECEMBER 23, 27 - 31 DIRECTOR - VICTOR FLEMING DIRECTOR - WOODY ALLEN

KANSAS, MAY 1938. A FEROCIOUS TORNADO IS ABOUT TO NOMINATED FOR TWO ACADEMY AWARDS IN 1979, AND CARRY OFF AN UNHAPPY LITTLE GIRL AND HER CONSIDERED ONE OF WOODY ALLEN’S MOST ENDURING MISCHIEVOUS DOG TO THE MERRY OL’ LAND OF OZ WHERE, ACCOMPLISHMENTS, ‘MANHATTAN’ IS RE-RELEASED IN A IN AN ATTEMPT TO FIND THEIR WAY HOME, THEY WILL SPLENDID NEW PRINT. ENCOUNTER A SCATTERBRAINED SCARECROW, A TIN MAN, A COWARDLY LION, A GOOD WITCH, A WICKED WITCH, A For the critic Andrew Sarris, Manhattan is “the only truly WIZARD, FLYING MONKEYS AND LITERALLY HUNDREDS OF great American film of the Seventies”—a large claim MUNCHKINS. indeed. Its theme, according to Woody Allen, is “the problem of trying to live a decent life amidst the junk of The production of The Wizard of Oz was so lavish for its contemporary culture—the temptations, the seductions.” time that nothing quite like it had been seen before. He plays a television writer striving to write serious Audiences spoke of the unforgettable thrill as the film literature. His artistic frustrations are paralleled by those switched from black-and-white to Technicolor. The movie in his personal relationships, as he finds himself has now been treated to a painstaking restoration, tormented by his ex-wife (Meryl Streep) who has resulting in such glorious high resolution that it offers an published a best-seller about their disastrous marriage, exciting new experience to today’s cinemagoers— and romantically torn between a beautiful teenager aficionados have even spotted never-before-seen rivets on (Mariel Hemingway) and his best friend’s neurotic the Tin Man’s head! mistress (Diane Keaton).

At times the film seems so surreal that it makes one feel “This year I’m a star,” Allen was saying at the time, “but almost uncomfortable, but at its very heart is a what about next year—a black hole?” Prophetic words, remarkably shrewd performance from Judy Garland, perhaps: his critical reputation has never quite recovered whose wide-eyed sincerity holds the picture together. The from the revelations about his private life, and, for obvious movie’s intended message, of course, is “there’s no place reasons, Manhattan might make somewhat like home”, but it also unwittingly demonstrates that you uncomfortable viewing now (the tensions between Art can successfully escape your monochrome life and find and Life are developed more deeply in the later Husbands happiness in other lands. The film is hugely popular with and Wives). For the most part, though, the elegant gay audiences, many of whom identify with that yearning comedy lances the emotional pain. Gordon Willis’s black- to be as accepted at home as they are elsewhere. and-white photography is exquisite; Gershwin’s swooning However, whether you be a friend of Dorothy or not, music is the apotheosis of New York; and Allen’s persona certain images and melodies will stay with you long after as a wry, bruised authority on urban anxiety is given an viewing. The wonderful Wizard of Oz is not just for intelligent, poignant context. In the end, he does not let Christmas.—Heather Osborn. his hero off lightly, making him the butt of the film’s beautiful final line, a gentle rebuke which pierces his U.S.A. • 1939 • BLACK AND WHITE/COLOUR •101 MIN ironic defences like an arrow. —Neil Sinyard.

U.S.A. • 1979 • BLACK AND WHITE •ANAMORPHIC •96 MIN

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GABRIELLE// PERFUME//THE STORY OF A MURDERER DECEMBER 27 - 31 FROM DECEMBER 27 DIRECTOR - PATRICE CHÉREAU DIRECTOR - TOM TYKWER

A THEATRE AND OPERA DIRECTOR AS WELL AS A FILM- IN ADAPTING PATRICK SÜSKIND’S 1985 NOVEL, GERMAN MAKER, PATRICE CHÉREAU EMPLOYS THE FULL RANGE OF DIRECTOR TOM TYKWER ( RUN, LOLA, RUN) FACED TWO HIS AESTHETIC TECHNIQUES IN THIS ENGROSSING VERSION SEEMINGLY INSURMOUNTABLE PROBLEMS. HOW TO OF A JOSEPH CONRAD STORY, WHICH ALSO BOASTS SUPERB VISUALISE THE OLFACTORY SENSATIONS OF ITS AROMA- PERFORMANCES FROM ISABELLE HUPPERT AND PASCAL OBSESSED PROTAGONIST. AND HOW TO MAKE US IDENTIFY GREGGORY. WITH (OR AT LEAST FEEL SOME SYMPATHY FOR) A MUTE AMORAL LONER LACKING IN BOTH HUMANITY AND Chéreau’s previous films range from the blood-soaked EMPATHY. historical drama La Reine Margot and the complex, powerfully emotional ensemble piece Those Who Love Me Miraculously, the film not only evokes the vivid smells and Can Take the Train to more intimate studies of troubled sights of the book’s 18th century setting, it also features a human relationships in Son frère and Intimacy. Combining seductive performance by British actor Ben Wishaw, as elements from all these films as well as his work in the abused orphan child who grows up to be a theatre and opera, Gabrielle develops from an expansive, precociously talented apprentice perfumier and a feared well-upholstered period drama into a chamber piece of serial killer. With his acutely refined sense of smell, Jean- unusual intensity. Transposing Conrad’s novella The Baptiste Grenouille soon outstrips his ageing employer, Return from London to belle époque Paris, the film opens Baldini (Dustin Hoffman), reviving his business with bold with the self-satisfied Jean Hervey (Greggory) coming new perfumes. But a fateful encounter with a beautiful home from work and describing his seemingly perfect plum-seller (Karoline Herfurth) sets Grenouille on his all- world. A rich businessman, he lives with his wife Gabrielle consuming quest. Dedicating his life to capturing the (Huppert) in a mansion house where the couple run lingering scents of beautiful women, Grenouille moves to weekly dinner parties for a carefully cultivated circle of Grasse to study the revolutionary new science of acquaintances. Jean’s complacency is shattered when he enfleurage—a chemical process designed to extract a finds a letter from his wife bluntly stating that she has left flower’s essential oil and heady scent. But like other him for another man. A further surprise follows with obsessive artists, Grenouille all too often kills the thing he Gabrielle’s equally unexpected return, which sets the loves. Alarmed by the murders of several young women, stage for a relentless post-mortem of a loveless, sharp-witted merchant Richis (Alan Rickman) plays cat- sexless marriage. and-mouse with the elusive killer, determined that his own beautiful daughter, Laura (Rachel Hurd-Wood), should The film’s success hinges on Chéreau’s brave decision to not end up as a clean-shaven corpse. give equal weight to all the key elements of the drama— dialogue, performance, music and visual style. Far from Although it lacks the cruel authorial ironies of Süskind’s unbalancing the piece, this highly stylised approach arch, sensual novel, Tykwer’s extraordinary film—awash works surprisingly well, making for a unique combination with a heady musical score—builds confidently to an of theatre, opera and film. —Peter Walsh. ecstatic, orgiastic finale.—Nigel Floyd.

FRANCE-ITALY-GERMANY •2005 •SUBTITLED. COLOUR •ANAMORPHIC GERMANY-FRANCE-SPAIN • 2006 • ENGLISH DIALOGUE • COLOUR •DOLBY DIGITAL STEREO •90 MIN • ANAMORPHIC • DOLBY DIGITAL STEREO • 147 MIN

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JACQUELINE// LITTLE WOMEN// DECEMBER 13 (6.40PM) DECEMBER 11 [11:00 AM] DIRECTOR - HANS-CHRISTIAN SCHMID DIRECTOR - MERVIN LEROY

VETERAN BRITISH DIRECTOR ROY WARD BAKER BROUGHT WILD STRAWBERRIES IS A MONTHLY FILM CLUB FOR OLDER CATHERINE COOKSON’S NOVEL A GRAND MAN TO THE PEOPLE. SCREENINGS ARE FREE OF CHARGE, BUT YOU MUST SCREEN AS JACQUELINE. RESERVE A SEAT BEFORE LEAVING HOME (CALL 01-6795744). THIS MONTH, JOIN US ON MONDAY, DEC 11TH FOR MINCE PIES This warm- hearted comedy-drama has all the AND A HEARTWARMING HOLIDAY MOVIE! hallmarks of classic Cookson: ordinary people muddling through life’s difficulties with a combination In the small town of Concord, Massachusetts during the of pluck, humour and a little luck. Transferred from the Civil War, the March sisters—Meg, Jo, Amy and Beth—live original English setting of the book, the film is set in with their mother in a state of genteel poverty, their father Belfast during the week of Queen Elizabeth’s having lost the family's fortune to an unscrupulous coronation in 1953. businessman several years earlier.

The McNeil family is barely making ends meet, as their While Mr. March serves in the Union Army, Mrs. March, alcoholic father, Mike McNeil (John Gregson), struggles affectionately referred to as "Marmee" by her daughters, to keep his job at the shipyards. Mike’s daughter holds the family together and teaches the girls the Jacqueline is a mischievous and resolute little girl, who importance of giving to those less fortunate than worships her father. To compensate for his short- themselves, especially during the upcoming Christmas comings she makes up outlandish stories about her season. dad’s life to impress her schoolmates. But she promises God that she will give up telling lies if her This lush and beautifully photographed production of prayers to save her family are answered. Louisa May Alcott’s beloved novel contains more star power than any of its predecessors or successors. Child actress Jacqueline Ryan, confidently takes on the title role of the devoted daughter determinedly June Allyson stars as Jo, the tomboy bookworm. Margaret hatching plans to help her family’s situation. She holds O’Brien plays the selfless and tragic Beth. Elizabeth Taylor, her own among Abbey veterans with decades of film in a perfect casting choice, plays the artistic Amy, and and stage experience behind them including her beautiful Janet Leigh takes on the role of responsible Meg. mother, Kathleen Ryan, Noel Purcell, Maura Delaney All of these stars turn in fine performances under the and Cyril Cusack and Maire Kean. —Michael Gray. experienced coaching of director Mervyn LeRoy .

1956 •UK •BLACK AND WHITE •89 MINS USA • 1949 • MONO • TECHNICOLOUR • 122 MINS

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IO LE GRAND VOYAGE Dec 1Macroom Transition Year / Senior French N// Dec 6Dundalk Transition Year / Senior French Dec 12 Dublin Transition Year / Senior French THE EDUKATORS Dec 7TraleeTransition Year / Senior German Dec 15 LetterkennyTransition Year / Senior German Dec 20 - 21Dublin Transition Year / Senior German TEACHER TRAINING Dec 4 Dublin Transition Year Module Dec 11 AthloneTransition Year Module THE FRONT LINE Dec 6 Athlone Transition Year Module MY LEFT FOOT Dec 5 - 7Dublin Senior English WILLY WONKA Dec 13 Dublin Primary CLARE SA SPÉIR & WORKSHOP Dec 14 Dublin Senior Irish CAVE OF THE YELLOW DOG Dec 19 Dublin Primary / Junior CSPE

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