Providing the parish with
The finest in classic & contemporary movies!

During the summer break we will present a great feature plus selected shorts for your viewing pleasure. Also scheduled for the Summer viewing  audience is the Children’s Matinee! Rip-roaring action, fanciful fantasies and rolling-on-the-floor comedies all selected for younger viewers.
Watch this site for dates and movies coming to the KIRK this summer!

      For your enhanced viewing of the features, the Kirk Cinema Snack Bar will be opened 30 minutes before show time and close 15 minutes before the closing credits. On offer will be a selection of hot dogs, candy, beverages and freshly popped corn!

  Peter Frye, typical American boy, is orphaned when his parents are caught in the London Blitz. He is not told of their fate, but shuttled from one selfish relative to the next, ending with "Gramp," a kindly ex-vaudevillean. Peter and Gramp, both fond of "Irish bulls," get along fine; but the morning after Peter finally learns he's an orphan, his hair spontaneously turns green! He meets with bitter prejudice and hatred from his fellow citizens, yet continues to express a belief that came to him in a vision: all wars must stop. The absurd over-reactions of stupid people overturn his life as the story becomes a parable. An interesting social commentary, with another fine performance by Stockwell as the alienated youth.

The film was one of the last movies made at RKO Radio Pictures under production chief Dore Schary and one of the most idealistic fantasy films ever made in America. Completed for release after Howard Hughes took over the studio, The Boy With Green Hair never got the kind of push that it should have, or needed, to become anything more than a cult curio in American cinema. Director Joseph Losey delivered a Technicolor production, which might not have had an expensive cast but cost a fair amount to shoot. The movie's idealism, as well as its implicit criticism of American (and Russian, British, French, and Chinese) governmental policies (and the nuclear program), were about as harsh and confrontational as mainstream filmmaking got in 1948, even if these themes were couched in terms of fantasy and fable. The entire cast, including Stockwell, O'Brien, Ryan, and Hale, seemed to embrace the movie's message with genuine fervor, which only made the movie more potent.

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