Our 2017-2018 season of films

Monthly film shows – September 2017 to July 2018

All screenings are at 8.00pm, unless otherwise stated, in the Commodore cinema, Star Street, Ryde PO33 2HX
Join RFC before a screening for £10 annually and save – members’ admission price is £5; visitors pay £7


Monday 25 September 2017
Accident (dir: Joseph Losey, 1967)      A/12A               105 minutes

Accident poster 
with Dirk Bogarde, Stanley Baker, Jacqueline Sassard, and Michael York

A Harold Pinter film adaptation of the 1965 novel by Nicholas Mosley, the second of three collaborations between Pinter and Losey (following The Servant and pre-dating The Go-Between).
‘… its fascination comes from Bogarde’s perfectly calculated moves to seduce the girl himself and, incidentally, win his undeclared war with Baker. His victory comes only after the “accident” of the title. The film is put together as carefully as a Hitchcock. The plot depends on coincidences, timing, and the resources available in the limited Oxford world. But it is also recognizably a work of Pinter in the way the story is revealed backwards, in scenes that are jigsawed together to make an emotional continuity instead of a straightforward story line.’ (Roger Ebert, Chicago Sun 5 November 1968)


Monday 30 October 2017
M  (dir: Fritz Lang, 1931)      A/PG      117 minutes

with Peter Lorre, Otto Wernicke, Gustaf Gründgens, and Inge Landgut

Fritz Lang’s first ‘talking picture’. M stands for Mörder (Murderer), as a serial child-killer is hunted in Weimar Berlin by the cops … and by the city’s criminal gangs, prompted by the inconvenient police activity. Lang’s moody indictment of mob mentality was filmed as armed Nazi squads beat down opposition in the streets less than two years before Nazism took over. Peter Lorre left Germany in 1933, Lang in 1934.
‘Lang is more interested in showing us how society will scramble to find the big scary “other” and use it as a go-ahead for witch hunting and the unjustified stretching of due process.’ M might make us ask, ‘Should we kill someone we find evil just because we think it will make us feel better?’ (Cassidy Robinson, ‘An Analysis – The Unresolved Legacy of Fritz Lang’s “M”’ at macguff.in)


Monday 27 November 2017
Do The Right Thing (dir: Spike Lee, 1989)  18 (1989)/15 (2015)   120 minutes

with Danny Aiello, Ossie Davis, Giancarlo Esposito, Spike Lee, and John Turturro

Life in the Bedford-Stuyvesant district of Brooklyn on a hot summer Sunday. Sal Fragione opens his pizza parlour, as he has every day for 25 years. In that time, the neighbourhood has changed and it’s now largely  home to African-Americans and Latinos. On the film’s 25 anniversary (2014) Rolling Stone magazine wrote, ‘Do the Right Thing stands up today as a piece of art, as a milestone in African-American cinema …” In the same issue, Spike Lee recalled that, ‘I wanted to reflect the racial climate of New York City at that time. The day would get longer and hotter, and things would escalate until they exploded. I’m a New Yorker, so I know that after 95 degrees [Fahrenheit], the homicide rate and domestic abuse goes up …’


Monday 11 December 2017
2001 A Space Odyssey (dir: Stanley Kubrick, 1968)       U       142 minutes

with Keir Dullea, Gary Lockwood, Leonard Rossiter, Margaret Tyzack, and Robert Beatty

‘The film, in fact, might be best described as a factual philosophical speculation, rather than as the drama it sets out as but never develops into: and like all good speculations, it leaves the spectator up in the air with a tantalising vision as food for thought. … With the whole screen glittering in an ever-changing pattern of diagrams and equations from instrument panels and monitor screens, a ballet of spacecraft performing lazy orbits in the sky to the strains of the Blue Danube Waltz, and its astronauts wrapped up like jelly-babies for long-distance hibernation in blue mummy-cases, this really is a brave new world of the machines. As such, not to be missed.’ (Tom Milne, Observer 5 May 1968)

‘I don’t like to talk about 2001 too much because it’s essentially a non-verbal experience. It attempts to communicate more to the subconscious and to the feelings than it does to the intellect. I think clearly there’s a problem with people who are not paying attention with their eyes. They’re listening. And they don’t get much from listening to this film. Those who won’t believe their eyes won’t be able to appreciate this film.’  (Kubrick to Jerome Agel, p277, Vincent LoBrutto, Stanley Kubrick 1998)


Monday 29 January 2018
The Prime of Miss Jean Brodie (dir: Ronald Neame 1969)        AA/12     116 minutes

with Maggie Smith, Robert Stephens, Pamela Franklin, Gordon Jackson, and Celia Johnson

The Prime of Miss Jean Brodie is about a marvellous mess. … it will probably be underrated because it must seem smaller than the big, extraordinary performance that Maggie Smith gives in the title role. There hasn’t been such a display of controlled, funny, elegant theatricality since Lawrence Olivier soft-shoed his way through The Entertainer nine years ago. … Miss Smith’s performance is a staggering amalgam of counter-pointed moods, switches in voice levels and obliquely stated emotions, all of which are precisely right. … Miss Brodie and a dozen other subsidiary characters are very much alive during confrontations that run from farcical to tragic.’ (Vincent Canby The New York Times 3 March 1969)


Monday 26 February 2018 – 6.30pm prompt start
Giant (dir: George Stevens, 1956)           A/PG          201 minutes

with Elizabeth Taylor, Rock Hudson, and James Dean

‘… a monumental drama as big and inspiring as the locale for which it is named, Texas. Giant in size, giant in ambition, giant in the human emotions that are generated by the massive forces of nature and human development that make up the peculiarly American sub-nation, Texas, this picture readily takes its place with the handful of screen epics. Even its running time is tremendous, three hours and a quarter with no planned intermission, and your reaction to that is likely to be highly personal. … Giant stands shoulder-to-shoulder with the great ones.’ (James Powers, The Hollywood Reporter 10 October 1956)

‘Seen today, Giant seems the least dated of any of James Dean’s three starring films, in part because it addresses issues that remain relevant more than 50 years later, and also because it has the best all-around acting and the best script of any of the three. Taken in broader terms, it’s even better, with two of the best performances that Elizabeth Taylor and Rock Hudson ever gave …’ (Rotten Tomatoes 24 June 2006 https://www.rottentomatoes.com/)


Thursday 8 March 2018 – at Aspire for International Women’s Day
Calais Children: A Case To Answer (dir: Sue Clayton)

A compelling 62 minute film following the scandal of what happened to the almost 2,000 lone children who were in the Calais Jungle as it burned down – most of whom had a legal case to be in the UK. What went wrong? Where are they now? And what can we do about it?
Admission: Free
Time: 7.00pm
Venue: Aspire Ryde, Dover Street, Ryde, PO33 2BN
Director Sue Clayton will be at Aspire to introduce her film and to answer questions at the end.
Find out more here: http://calais.gebnet.co.uk/


Monday 26 March 2018
Pierrot le fou (dir: Jean-Luc Godard, 1965)  Jean-Paul Belmondo, Anna Karina, Graziella Galvani / category 15 / 110 minutes

Images courtesy of BFI

‘Godard called it the story of the ‘last romantic couple’, but it was also his spectacular farewell to the style and spirit of the Nouvelle Vague. On impulse, Ferdinand abandons wife and child to take off with Marianne, an old flame, on a crazy and eventually tragic adventure, involving fast cars, mysterious gangsters and a Mediterranean idyll that turns sour.’ (BFI notes)


Monday 30 April 2018
Love is the Devil: Study for a portrait of Francis Bacon (dir: John Maybury, 1998)  15  87 minutes

with Derek Jacobi, Daniel Craig, Tilda Swinton, Anne Lambton, and Adrian Scarborough

‘… if you want a brilliantly sustained imagining of how, according to some of the best available evidence, Bacon saw his world, and how he rendered that vision on to canvas, then Love Is the Devil is a very remarkable film indeed. … Maybury, best known for his design work on the films of Derek Jarman and his video clips … gets the narrative off to a good start, and handles the tricky combination of story and reflection – in other words, the life itself and the life transmuted into art – with lucidity and a sure sense of cadence.’ (Richard Williams, The Guardian 18 September 1998)

‘Maybury and his cinematographer, John Mathieson, make the film itself look like a Bacon … filters and lenses to distort faces … reflections to suggest his diptychs and triptychs. A viewer who has never seen a Bacon would be able to leave this film and identify one instantly in a gallery.’ (Roger Ebert, Chicago Sun 20 November 1998)


Monday 28 May 2018
The Long Good Friday (dir: John Mackenzie, 1980)             X/18           114 minutes

with Bob Hoskins, Helen Mirren, Paul Freeman, PH Moriarty, Kevin McNally, and Patti Love

‘For many, The Long Good Friday is the finest British gangster film ever made. Much as I concur with that recommendation, to describe it as merely a gangster movie is to be excessively reductive. … The Long Good Friday is the first truly Thatcherite piece of cinema, a movie that predicted the burgeoning growth and development of London into a world city, a magnet for new non-manufacturing business, a city willing to embrace the free market and exist at the very epicentre of a global economy.’ (Hardeep Singh Kohli, The Spectator 25 February 2009)


Monday 25 June 2018
All About My Mother (dir: Pedro Almodóvar, 1999)             15           101 minutes

with Cecilia Roth, Marisa Paredes, Candela Peña, Antonia San Juan, and Penélope Cruz

‘At forty-eight, Almodóvar shows a new maturity through storytelling that digs deeper and leaves scars. His film, borrowing inspiration from the 1950 Bette Davis classic All About Eve, isn’t just about actresses but about how women act. … What could be the stuff of soap opera is transformed by Almodóvar and a quintet of transcendent actresses into a unique and unforgettable tribute to female solidarity.’ (Peter Travers, Rolling Stone 24 November 1999)

‘… the complexity of his most recent work seems to come from a better understanding of human behaviour, accompanied – tempered some might say – by greater compassion, generosity and even optimism. … although he holds his characters duly responsible for their actions, Almodóvar enables his audiences to understand, forgive and even like them. As precisely pitched, variegated and intense as the film’s depiction of loss, mourning and pain is, nevertheless it is wittily optimistic. While acknowledging that even when parents are there for their children, they can’t always protect them, the film posits mothers who not only love but take the care to care afterwards.’ (José Arroyo, Sight & Sound September 1999)


Monday 30 July 2018
Gilda (dir: Charles Vidor, 1946)            A/PG           110 minutes

with Rita Hayworth, Glenn Ford, George Macready, Joseph Calleia, and Steven Geray

Gilda is a destabilized hybrid of polished studio musical and pitch-black noir. The film looks both backward, to The Shanghai Gesture, Casablanca, and To Have and Have Not, and forward, to the sexually and politically paranoid films of later noir. … The docks and casinos of Argentina in Gilda represent the end of the line. The mood is violent, sexual, chaotic. Hayworth is often shot in complete darkness, not even a bar of light across her eyes. Characters’ shadows on the walls are so elongated that they appear to be detached sentient beings. … Hayworth here is no femme fatale. Gilda is a pawn between two men who seem more interested in each other than her. … In Gilda, Hayworth was able to use her dancing in a totally different way than she had before. The comparison is startling. Some of the credit for this must go to Vidor … but the majority of it belongs to Hayworth herself. In both numbers, her gestures, hip bumps, knowing smile, and tousled, wild hair make an electric impression to this day. … The musical numbers in Gilda are not a break in the action. They are the action. … Hayworth understood what she was doing, and understood exactly what it was she was toppling.’ (Sheila O’Malley, The Criterion Collection https://www.criterion.com/current/posts/3878-the-long-shadow-of-gilda)


Contact: info@rydefilm.club

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.