Films normally start at 7.30pm in The Guildhall of St George, King St. Members and their guests can sign in from approx 7pm.
Forthcoming Film Dates for your Diary
▓ We are delighted to once again be working in partnership with the King’s Lynn Festival and have arranged these films as part of the Festival. Tickets for these films will be £4 for members and £5 for the public and will be available from the Corn Exchange. Details have been sent to you on how to purchase at the reduced rate.
Thu 9th Apr
Thu 14th May
Thu 11th Jun
Thu 9th Jul
Thu 13th Aug
Thu 10th Sept
Thu 8th Oct
▓ Thu 22nd Oct
Thu 12th Nov
Thu 10th Dec
Friday 24th October 7pm
Nosferatu + The Others
Nosferatu (1922) 94 mins Silent Subtitled Cert PG
Contains mild violence and horror
The film, shot in 1921 and released in 1922, was an unauthorised adaptation of Bram Stoker’s Dracula, with names and other details changed because the studio could not obtain the rights to the novel (for instance, “vampire” became “Nosferatu” and “Count Dracula” became “Count Orlok”). Stoker’s heirs sued over the adaptation, and a court ruling ordered that all copies of the film be destroyed. However, one print of Nosferatu survived, and the film came to be regarded as an influential masterpiece of cinema.
The Others (2001) 101 mins Cert 12
Contains moderate horror
In 1945, in Jersey, Channel Islands, the widow Grace Stewart lives in a lonely old house with her daughter Anne and her son Nicholas. Grace lost her beloved husband Charles in the World War II and their children are photosensitive and Grace keeps the curtains and the doors closed to protect Anne and Nicholas against the sunlight. Grace raises her children with strict discipline and following religious principles. Grace hires the strange housekeeper Mrs. Bertha Mills, the mute maid Lydia and the gardener Mr. Edmund Tuttle that have asked for a job. Out of the blue, mysterious things happen in the mansion and Anne claims that there is a boy named Viktor that visits them. Grace unsuccessfully seeks out the intruders until the day she has a revelation about the house and its intruders.
Thursday 20th November 7.30pm
(2013) 104 mins Cert 12A
Contains brief sexual assault, discrimination theme
Belle is a 2013 British drama film directed by Amma Asante, written by Misan Sagay, and produced by Damian Jones. It stars Gugu Mbatha-Raw, Tom Wilkinson, Miranda Richardson, Penelope Wilton, Sam Reid, Matthew Goode, Emily Watson, Sarah Gadon, Tom Felton, and James Norton.
The film is inspired by the 1779 painting of Dido Elizabeth Belle beside her cousin Lady Elizabeth Murray at Kenwood House, which was commissioned by their great-uncle, William Murray, 1st Earl of Mansfield, then Lord Chief Justice of England. Very little is known about the life of Dido Belle, who was the illegitimate mixed-race daughter of Mansfield’s nephew. She was born in the West Indies and entrusted to the care of Mansfield and his wife. The fictional film centres on Dido’s relationship as a young woman with an aspiring lawyer; it is set at a time of legal significance as a court case is heard on what became known as the Zong massacre, when slaves were thrown overboard from a slave ship and the owner filed with his insurance company for the losses. Lord Mansfield rules on this case in England’s Court of King’s Bench in 1786, in a decision seen to contribute to the abolition of slavery in Britain.
Thursday 11th December 7.30pm
Joyeux Noël (Merry Christmas)
(2006) 116 mins Cert 12A English, French & German with subtitles
Contains moderate battle violence, sex, & one use of strong language
When war breaks out in the lull of summer 1914, it surprises and pulls millions of men in its wake. Christmas arrives, with its snow and multitude of family and army presents. But the surprise won’t come from inside the generous parcels which lie in the French, Scottish, and German trenches. That night, a momentous event will turn the destinies of four characters: an Anglican priest, a French lieutenant, an exceptional German tenor and the one he loves, a soprano and singing partner. During this Christmas Eve, the unthinkable happens: soldiers come out of their trenches, leaving their rifles behind to shake hands with the enemy.
Tuesday 10th March 2.30pm
(2014) 149 mins Cert 12A
Contains moderate sex, sex references
Twice before, first with ‘Topsy-Turvy’ and then with ‘Vera Drake’, Mike Leigh has punctuated his bittersweet studies of contemporary life with period dramas. Now, with ‘Mr Turner’, the British director of ‘Naked’ and ‘Secrets and Lies’ takes us back to the nineteenth century and the later years of the celebrated, groundbreaking, difficult painter JMW Turner (1775-1851). Sad and joyful, ‘Mr Turner’ offers a wonderfully rich tapestry of experience and digs deeply into a complicated, contradictory life.
Timothy Spall — a veteran of Leigh’s films — plays this eccentric, determined London bohemian like a bronchial, cantankerous, randy old toad with backache. He grunts and grimaces and gropes his way through life. He talks like a market trader after a crash course in the classics. Leigh, meanwhile, explores Turner’s life unburdened by any sense of purpose other than an intense, contagious fascination with this man, his work, his times and, increasingly, the inevitable, slow, irresistible trudge towards death.
We observe Turner’s fondness for his elderly father; his sexual relationship with his meek housekeeper (Dorothy Atkinson); his rejection of his children and their mother; his arms-length acceptance by the lions of the Royal Academy; his late-life relationship with a Margate widow (Marion Bailey); and the mockery of the crowd when his work turns experimental. ‘Vile’ and a ‘yellow mess’ concludes Queen Victoria at an exhibition: the presence of royalty in a Mike Leigh film is just one of its many welcome surprises here. Mortality hangs heavily over ‘Mr Turner’, which covers roughly 25 years and is a poetic, brilliantly choreographed patchwork of moments and episodes. The film often has a wistful, regretful air, but alongside sadness sits great joy — there are moments of wicked humour.
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