When did the dream begin? Perhaps when the film awards came to town, during Glasgow's celebration as European City of Culture 1990. Maybe it was earlier, after seeing its necropolis perched on the skyline in the opening shot of Bertrand Tavernier's Deathwatch. Nobody knows, and maybe nobody cares - for Glasgow's vision of itself as a movie- making centre is now a reality.

SCOTTISH THEATRE ROUND-UP Trainspotting / Citizens, Glasgow Wasted / Tron, Glasgow

Michael Kuhn has a dream: to make PolyGram Europe's only film studio. M ike Newell's Four Weddings and a Funeral brought box-office success, but what's next?

EVER since Erich Von Stroheim, cinema has grossed out on greed. Greed fed a whole avaricious genre: film noir, with its lust for money, lust for power and just plain lust. Von Stroheim's 1924 Greed is more topical than ever: it told of a friendshi p blown apart by the windfall of a lottery win. Many will read the new Brit- ish thriller Shallow Grave (18)

Newcomers steal from their elders, a veteran cannibalises himself. Adam Mars-Jones knows where the bodies are buried. Plus round-up

THE OLD truism has it that 'Bad books make good television and vice versa.' It's a truism that isn't true, in fact, but it's certainly the case that a book's reputation will provide a slope down which your expectations roll; in the case of classics the gradient is always steeply against the adaptor. So the question to ask about Stephen Lowe's Scarlet and Black (BBC 1) is not whether it has coarsened Stendhal's masterpiece but how? Has it found sufficient compensations in its own style to make good the necessary disregard for the author's? If you like American mini-series then I think you will answer yes. This is not so much Scarlet and Black as Stendhal's I'll Take Paris.