rede uero hao rated a selection of the la teot releaoeo on a oca le o f 0 to 10, the latter being the optimum rating (a àaoh meano not seen) . a _i < h- OO 00 = C/5 < o LU 0. o o CO 00 2 QCi LU t <■ < 0C l QC < 2 s < 00 I— < : <■ a. " ’ ri a ca QC QQ o < S QC X ' > oc> I— c 00 ^ o 00 X : Q I CD < 1 00 < 5 LU 00^ Q_ " > < a Q r- < < > LU > 3 DÌRTYDOZEN A M IS T A D •— n 3 5 8 - - 5 7 - 3 5 1 S 9 8 3 8 9 9 8 9 7 .5 S t e v e n S p ie lb e r g A S G O O D A S IT G E T S Ja n te a L. B r o o k a ! 5 7 5 .1 ■g m E 7 8 7 .8 re " £ -e £ I *-» c5P o ro _>» -o ■ a 5 < -2 °O I o i^ ' o. re ■ 00 s 5 - 6 .5 s Ì 9 7 - 6 5 1 7 3 3 3 5 ! 6 7 5 .5 5 5 5 { re in re L « , u c re ai t *-> 0 3 - 1 - 4 i 1 5 3 .1 i i 0) c la in S o f t ie » } When distributors first tried to release Le Mépris in Australia, it was BANNED. The distributors then did the inexcusable and cut the film brutally to get a release. The wideshots of the naked Camille (Brigitte Bardot) in the “Do you like my bottom?” sequence were excised, as was the nude moments of montage during the scene where Camille reflects on the couch in a red wrap, let alone in the scene on the roof where a paperback makes up for Camille’s bikini-bottom. As for poor Fritz Lang’s epic within an epic, it was so 9 E 1 bo re w o re 5 a > « .t Í 1 7 E g. in O- w I — U i - . re o 5 ® 8 S v £ « re a "O 5 2 « â 73 c O 3a> ■ 2 m in c co jo a> a t 1 K e v in C o A tn er M m c ■> a.E l G illia n fir n iA tr o n g 64 ~ .2 <0 ! i § G o r e V er b in A k i T H E W IN G S O F T H E D O V E •5 n 4ou c_o U a>) ° - © l/) w m >- _Q ^ = O 00 « O £ 3 Ü F r a n c iA F o r d C o p o l l a L A M E P R IS E (C O N T E M P T ) | : - £ £ 7 U J it M W e n d e r A M A V I E E N R O S E ( M Y L I F E IN P I N K ) I 11 s ¿l_ boc ~ <« re o ~ T a tjlo r H a c k fo r d J O H N G R IS H A M ’S T H E R A IN M A K E R re « Vi 0) C o' P a tti T lt o m a ^ fln d e r A o n T H E E N D O F V IO L E N C E s = ■ *> ID .= 6 8 8 s 7 7 9 7 9 7 .7 re b s in | * | ,5s I>—f< — i i"Oi"O ' mutilated that when Jeremy Prokosh flack Palance) says how rude the rushes are we could only assume he’s gone delusional. To top it all, the film was dubbed into English, which meant the translator, Francesca (Georgia Moll), had nothing to do, so the dubbers invented some of the most rubbishy dialogue in the history of cinema to cover her mouth movements. Even in that form, Le Mépris was one of the great- 7 .5 esL muvies ever maae, ims mimon-aouar iove-lett< from Godard to his former wife. Now it is pure blis S. M. C I N E M A P A P E R S • MA Y 1998