5.00pm SHOWING LITTLE WOMEN u

We are delighted to open our doors again and look forward to welcoming everyone back to Oakwood Cinema. We are conscious of the very different situation we find ourselves in during Covid-19 restrictions and safety is our main concern. So, we’re doing things differently for our first screening on 25 July, in line with government guidelines. We are having two showings with 50 seats per showing (a third of our usual capacity.) This will allow plenty of space between seats, enabling social distancing. Seats will be spaced out but we will allow groups to move seats and sit together as appropriate. We will also have a system to avoid congestion. When you arrive, please go straight into the auditorium, filling up from the front. Unfortunately, we’re not be able to provide refreshments, but please feel free to bring your own. The bar will be open upstairs and there will also be plenty of hand sanitiser available. Face masks are not compulsory but of course it is fine if you want to wear one.

There have been many screen adaptations of Louisa May Alcott’s Little Women (originally published in two volumes in 1868 and 1869), but this is one of the best. Directed by Greta Gerwig (who also directed Lady Bird), and with an all star cast, it feels fresh and relevant to a modern audience.

Little Women tells the story of an impoverished middle class family in New England; with their father away serving as a pastor in the Civil War, Marmee and her four daughters are left to fend for themselves and navigate the different paths to adulthood. Saoirse Ronan is superb as Jo, with equally strong performances by Florence Pugh, Emma Watson, Laura Dearn, Timothée Chalamet and Meryl Streep.

The Guardian wrote: “One-hundred-and-fifty-year-old literature never felt so alive. Greta Gerwig’s jostling, clamouring adaptation of Little Women is a rare achievement. Gerwig is respectful of the source material – much of the dialogue is lifted from Louisa May Alcott’s beloved book – while ensuring that her own creative input is heard. By encouraging a merry chaos of overlapping personalities and performances – restructuring the timeline into a multilayered playground where the child and adult stories interact – and subtly foregrounding existing themes of female fulfilment and the economics of creativity, Gerwig creates something that is true to its roots and bracingly current.”

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