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Introduction to European Cinema - Filmhouse Cinema Edinburgh

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8 Maybe you missed.../Res<strong>to</strong>red classic<br />

50/50 THE GIRL WITH THE DRAGON TATTOO<br />

MAYBEYOUMISSED<br />

50/50<br />

Fri 27 <strong>to</strong> Tue 31 Jan<br />

Jonathan Levine • USA 2011 • 1h40m • Digital projection<br />

15 – Contains strong language, once very strong, strong sex and<br />

sex references<br />

Cast: Joseph Gordon-Levitt, Seth Rogen, Anna Kendrick, Philip<br />

Baker Hall, Anjelica Hus<strong>to</strong>n.<br />

As far as movie formulas go, cancer and comedy shouldn’t<br />

mix. Find the right balance between gallows humour and<br />

compassion, however, and the honesty is preserved. Such<br />

is the case with Jonathan Levine’s latest feature, which<br />

tackles its grim subject matter in a manner as hilarious as it<br />

is sincere.<br />

The film follows Adam (Joseph Gordon- Levitt), a 27year-old<br />

nice guy who’s been diagnosed with a rare form<br />

of cancer. He’s immediately rolled in<strong>to</strong> chemotherapy<br />

treatments and given a fifty-fifty odds of survival. Adam<br />

doesn’t have <strong>to</strong> face this dark voyage alone: by his side are<br />

his best friend Kyle (Seth Rogen), his doc<strong>to</strong>r (Philip Baker<br />

Hall) and a therapist-in-training (Anna Kendrick). As Adam<br />

comes <strong>to</strong> terms with the possibility that he may be living his<br />

last days, he and Kyle decide <strong>to</strong> make the most of a dismal<br />

situation.<br />

MAYBEYOUMISSED<br />

The Girl with the Dragon Tat<strong>to</strong>o<br />

Fri 27 Jan <strong>to</strong> Thu 2 Feb<br />

David Fincher • USA/Sweden/UK/Germany 2011 • 2h38m<br />

18 – Contains strong sex and sexual violence<br />

Cast: Daniel Craig, Rooney Mara, Chris<strong>to</strong>pher Plummer, Stellan<br />

Skarsgård, Steven Berkoff.<br />

Hoping <strong>to</strong> distance himself from the fallout of a libel<br />

conviction, journalist Mikael Blomkvist (Daniel Craig)<br />

retreats <strong>to</strong> a remote island in Sweden’s far north, where the<br />

unsolved murder of a young girl still haunts her industrialist<br />

uncle forty years later. Ensconced in a cottage on the island<br />

where the killer may still roam, Blomkvist’s investigation<br />

draws him in<strong>to</strong> the secrets and lies of the rich and<br />

powerful, and throws him <strong>to</strong>gether with one unlikely ally<br />

– tat<strong>to</strong>oed punk hacker Lisbeth Salander (Rooney Mara).<br />

David Fincher’s adaptation of the first part of Stieg<br />

Larsson’s bestselling trilogy is very much a Fincher<br />

film, with shades of his previous crime thrillers Se7en<br />

and Zodiac. Dark, stylish, bleak and atmospheric, with<br />

impeccable s<strong>to</strong>rytelling and an appropriately reserved<br />

performance from Craig matched by an appropriately<br />

forceful one from Mara.<br />

L’ATALANTE<br />

RESTOREDCLASSIC<br />

L’Atalante<br />

Fri 20 <strong>to</strong> Thu 26 Jan<br />

Jean Vigo • France 1934 • 1h29m • Digital projection<br />

French with English subtitles<br />

PG – Contains brief nudity and infrequent sex references<br />

Cast: Michel Simon, Dita Parlo, Jean Dasté, Gilles Margaritis.<br />

Jean Vigo’s first and only full-length feature is one of the<br />

cinema’s greatest masterpieces. The s<strong>to</strong>ry is very simple:<br />

newly-weds Jean Dasté and Dita Parlo find living on a<br />

cramped Seine barge brings tension <strong>to</strong> their relationship;<br />

their naivety falls prey <strong>to</strong> the volatile eccentricity of second<br />

mate Père Jules, the temptations of a flirtatious pedlar,<br />

and their own unreadiness <strong>to</strong> compromise. But <strong>to</strong> this<br />

stark narrative Vigo brings a rich array of moods (comic,<br />

suspenseful, heart-rendingly romantic) <strong>to</strong> explore the<br />

nuances of every single emotion.<br />

It is not clear if Vigo was ever well enough <strong>to</strong> view the cut<br />

made by his edi<strong>to</strong>r Louis Chavance (he died of tuberculosis<br />

soon after shooting the film). The distribu<strong>to</strong>rs, however,<br />

regarded the finished film as worthless and demanded<br />

that it be trimmed, reducing its running time from 89 <strong>to</strong> 65<br />

minutes. L’Atalante was also re-titled Le Chaland qui passe<br />

after a sentimental ballad of the time which was dubbed<br />

over the credits <strong>to</strong> add popular appeal. It was not until<br />

1989 that a 35mm print of the original 1934 version (before<br />

the cuts), which had found its way in<strong>to</strong> the BFI National<br />

Archive, was used <strong>to</strong> form the basis of a full res<strong>to</strong>ration<br />

by Gaumont. This new high-definition digital transfer<br />

(by Criterion) was made from the 2001 Gaumont 35mm<br />

res<strong>to</strong>ration negative (a revision of the earlier res<strong>to</strong>ration)<br />

and aims <strong>to</strong> be as true as possible <strong>to</strong> the original version.

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