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5 2 Let your child’s imagination run wild at…. Kaleidoscope’s Summer School 5 – 7 yrs 7 - 11 yrs 11 - 14 yrs Drama, Dance & Art Monday 26th to Friday 30th July 10am - 4pm, Sussex Downs College, Lewes Early bird discount £120 Book before 31st May The week will culminate in a fabulous performance for parents and friends, in a fully equipped theatre. Kaleidoscope is fully insured with public and employers liability and all staff have enhanced CRB police checks. 01273 473 554 • deirdredaly@btinternet.com www.kaleidoscopetheatre.org.uk ringmervh.appeal@btinternet.com
My clear favourite among the three May offerings from Lewes Film Club is Wim Wender’s 1974 road movie Alice in the Cities (18th, 8pm). As you might imagine from its date and author, it’s something of an existentialist piece, focussing on the plight of a German writer sent to the United States to concoct a story about the state of the nation, but so disillusioned with the job all he can produce is a box of Polaroid snapshots. Buying a ticket home in the airport, he meets a young woman and her nine-year-old child and arranges to accompany them to Germany, via Amsterdam. Trouble is (and you have to take this bit with a pinch of salt) the woman slinks off to finish some business, and the writer ends up taking the child back to Europe on his own. The pair then travel around Germany together, searching various cities for the child’s elusive grandmother. Wenders uses this unlikely scenario to explore the growing influence of American culture on Europe, though what he ends up with is very much in the tradition of Old World cinema: a slow-moving, beautifully shot, character-led, black-and-white movie which defies convention and formula. A marvellous film, actually, which is life affirming without ever relying on cloying sentimentality, featuring understated performances from Rüdiger Vogler (the writer) and Yella Rottländer (the girl). Fugitive Pieces (11th, 8pm) is another film about a child being taken under the wing of an adult, and moved to a different country. The film flits between modern times and the war years as a Canadian writer revisits his traumatic past. Young Jakob, a WW2 orphan, is rescued from occupied Poland w w w. V I VA L e w e s . C o M MAY ROUND-Up On the road C I N e M A by an archaeologist who takes him first to Greece, then to Canada. It’s based on the complex and fairly poetic novel by Anne Michaels: like many literary adaptations it fails to fully transpose the book’s subtlety onto the screen. Rosamund Pike excels as the girlfriend who persuades the writer to unlock his memories; alas he dumps her halfway through the film. The Visitor is a strange, but fairly likeable film, if you forgive its many implausibilities. At the beginning we meet Walter, a disaffected and extremely curt university professor going through the motions after twenty years teaching the same international developments course in Connecticut. He’s forced by his boss to give a paper in New York, where he owns a flat he hasn’t visited for years. When he arrives, he finds it inhabited by an immigrant couple – a cheerful young man from Syria, and his rather more surly girlfriend from Senegal. A character change comes over Walter at this point (we get to understand the reason for his previous behaviour) and he allows them to stay on, while they find somewhere else to live. This opens a new world for him, involving great cooking, African drum rhythms, and the savage nature of the immigration authorities. Richard Jenkins, of Six Feet Under fame, ably plays the professor, but the finest performance comes from Hiam Abbass, playing the Syrian guy’s mother, who arrives in the second half of the movie like a breath of spice-perfumed air. Which goes to show: if you’re going to give half-roles to the finest actors at your disposal, make sure it’s the second half. Dexter Lee 5 3
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