I have a dream, and it's not just an erotic one

FILM STUDIES

Film: Tardis ready for take-off again

The BBC's finest is about to be revived - and this time, he'll be African American (most probably). By Matthew Sweet

Theatre: Power play on a lonely isle

UNE TEMPeTE THE GATE LONDON

Film: What a swell location to sell films in

European arthouse meets Hollywood blockbuster at the Venice Film Festival.

Please Spike, just drop the Nikes

also released; He Got Game 15 The Land Girls 12 Hands PG Way Out West/ The Music Box U Species II 18

Pop: Andy Gill's album round-up

Public Enemy

Film: Stumbling on the road to `Fallen'

Denzel Washington tells Ivan Waterman why he believes in God and evil

Film: Gilbert Hoblit gets the blues

Nick Hasted meets the director who wants to make the world better

IS SHE ALL MOUTH?

`Pretty Woman' won her stardom - if not critical acclaim. But with `My Best Friend's Wedding' and `Conspiracy Theory', Julia Roberts is showing signs that she can act as well as flirt

Film: A synopsis, not a script

Also Showing: COURAGE UNDER FIRE Edward Zwick (15) THE NUTTY PROFESSOR Tom Shadyac (12) LETTERS FROM THE EAST Andrew Grieve (nc) TOUCH OF EVIL Orson Welles (12)

Clock Lee's mastermix

Spike Lee graduated from film school in 1980's New York and his films display that decade's confidence and opportunism. From She's Gotta Have It! to Malcolm X (with Denzel Washington, left), the softly-spoken guy in baseball hat and specs has proved a master mixer of politics and entertainment, achieving big studio backing and a higher profile than any other black director. This weekend a retrospective at the NFT celebrates 10 years of his work and gives fans the chance to check his latest urban drama, Clockers.

FILM : Putting the black into noir

CARL FRANKLIN's Devil in a Blue Dress (15) opens with a sinuous camera climbing above the sun-drenched streets of post-Second World War Los Angeles, over hawkers and hustlers, peering in at a first-floor window. Lovers of detective films will be familiar with this move: it is the moment when the camera reveals the embossed window of the private-dick agency - "Spade and Archer" - in The Maltese Falcon. Except this time we're shown not an office but a bar: Joppy's joint, where Ezekiel ("Easy") Rawlins (Denzel Washington) hangs out, needing a job before he can even think about getting his own premises. This opening is typical of the film's blend of familiarity and freshness. With its black hero falling into detection in 1948 California, it views pulp conventions through the prism of race, putting the black into noir.

Black, white and blue all over

DEVIL IN A BLUE DRESS Carl Franklin (15) THE RUN OF THE COUNTRY Peter Yates (15) THE WAR Jon Avnet (12) LOVE AFFAIR Glenn Gordon Caron (PG)

Scott of the Atlantic

Tony Scott pulled a few strokes to film the submarine thriller Crimson Tide. It's how he's stayed afloat in mainstream Hollywood. By Chris Peachment

Nerd's the word in Hollywood

Cyberspace is coming to a cinema near you, writes
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