Wednesday, April

15, 1992 ~ North Shore News - 3S

Graham Greene shines in Thunderheart

Thunderheart « ¥ # (Tri-Star)
Rated Mature (af the Park &
Tilford, Granville, Station
Square and Coquitlam cinemas)

CCORDING TO the FBI, Leo Fast Elk wasn’t quite

fast enough.
When the Native

American was shot on the Oglaia
reservation in South Dakota, he
became the latest victim in a series
of unsolved murders. The FBI
needs a quick three-day wrap-up
and dispatches their resident
one-quarter Sioux, Ray Levoi (Val
Kilmer), to solve the case.

Unfortunately, Ray has a prob-
lem with his heritage. To him,
medicine men and mystic visions
are about as empty as the derelict
cars littering every other yard on
the “res.”

While Ray rejects a suggestion
from tribal police officer Walter
Crow Horse (Graham Creene) to
accent these traditions, he can’t
ignore kis strange dreams and vi-
sions.

Tim Bell
FILRS REVIEW

And the uncannily accurate in-
sights from Grandpa Sam Reaches
(Chief Ted Thin Elk) shakes Ray's
entire belief system. Even his part-

ner, Frank Coutelle (Sam Shepard),

notices his preoccupation,

Talk about a tough case. Not
only does Ray have to find the
killer, he’s got io find himself.

That makes for some pretty in-
tense introspection, which isn’t
always the most cinematic of emo-
tions. Mostly it involves sweating.
From the first moment his ancestry
is mentioned, Val Kilmer starts
perspiring, and for the rest of the
film, there's a lot of brow-mopp-
ing. Althcugh a little sicic (and a
lot damp), Kilmer projects a
clean-cut likability.

However, the shining star here is
Graham Greene, Fis character is
the perfect cop with bang-on
analysis of evidence, while his wry
one-liners and dead-pan cool
make him the idea! scene-stealer.

The film has & few problems
with pace as Ray gradually (very
gradually) explores his selfhood
and there are no real surprises in
that department. But still,
Thunderheart is a well-crafted,
good-looking and intriguing
mystery.

Ju Dou & * *% (LIVE Home
Video) Rated Mature

In China during the 1920s, a
beautiful bride escapes an abusive
marriage to a sadistic, iinpotent
old man by indulging in a pas-

sionate affair with his nephow.

Yes, it’s a parallel to current
events in China, but the movie is
much more than a metaphor.

It's an impressive-looking
treatise on domination subverting
happiness with superb acting and
a powerful script. And since
directors Zhang Yi-Mou uses his
camera like a painter uses his
brush, the film is also gorgeous to
look at.

The story’s setting in a dye mill
exploits the viorant colors, fre-
quently symbolic, and exquisitely
photographed.

Zhang's slightly less political,
more comic, and equally fine Red
Sorghum is also available. Both are
highly recommended.

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