Santa Paula Cinema Society

Santa Paula Cinema Society Watching and discussing great films once a month in Santa Paula since 2012!

Our series ( #131) continues Friday, Aug. 8 with a screening of the 1922 silent "Nosferatu" -- the first of at least a d...
08/06/2025

Our series ( #131) continues Friday, Aug. 8 with a screening of the 1922 silent "Nosferatu" -- the first of at least a dozen films based on the Bram Stoker gothic novel "Dracula." But this one, by German Expressionist filmmaker FW Murnau, was made without authorization, and despite Murnau's changes to avoid copyright litigation, it was withdrawn from distribution, and all copies meant to be destroyed. Fortunately, several prints survived, and the film was carefully reconstructed and restored. This is a great film on its own merits, and a foundational film in the horror genre besides. It is also Dracula (here called Count Orloff) before Bela Lugosi and Peter Cushing placed their indelible stamp on the character. We will be watching the beautiful German restoration with English subtitles. Univeralist Unitarian Church of Santa Paula, Aug. 8, 2025 @ 7 p.m. Free. Bring your own blood!

11/08/2023

A very special Santa Paula Cinema Society event will be held this Sunday at UUCSP. Visiting with us will be Paris documentary filmmaker Raphaël Millet, who will be screening his documentary GASTON MÉLIÈS AND HIS WANDERING STAR COMPANY and discussing his new work on Méliès currently in development.

The brother of pioneering French filmmaker George Méliès, Gaston shot silent films in Santa Paula after locating his studio here in 1911, making extensive use of local outdoor locations for nearly 90 one-reel Westerns. His Star Film Company first made camp at the Sulphur Mountain Springs Resort in Santa Paula Canyon. Intending to stay, he then moved to a downtown location where the Santa Paula Theater Center and Ebell Park are located today.

In 1912 Gaston hatched a more ambitious plan taking his film company on a months-long tour of the South Pacific and Asia, making films all along the way. Millet's documentary covers this extraordinary journey. His new work now being researched will document Gaston's filmmaking in the U.S., including Santa Paula. Please help us welcome Raphaël Millet as he reveals our moment in filmmaking history.

Sunday, November 12 at 7:00 PM
Admission is free.
Reception to follow.

Our last film of the year is "The Wizard of Oz.” Today we think of Oz as a film classic, but in fact this status wasn't ...
11/29/2022

Our last film of the year is "The Wizard of Oz.” Today we think of Oz as a film classic, but in fact this status wasn't achieved until long after its original release in 1939. The film sold well enough abroad, but in the U.S was greeted with tepid box office. Even star Judy Garland somehow managed not to see the finished product until a year afterwards. It was also largely snubbed by the Academy — though in fairness the competition was unusually stiff in that legendary filmmaking year.

It took almost two decades and TV to establish the film's classic status. The transformation began with its debut on CBS in November 1956, followed a few years later with annual nationwide airings, usually right around Thanksgiving. TV turned Oz into a holiday staple, despite it being ruthlessly edited down to fit into a TV time slot, interrupted with commercials, and for most households, seen in black and white. Still, annual Oz viewings became a ritual across the country, cementing its standing as a cultural fixture.

The film’s decades-long tour of TV wound down just as the home video boom began, allowing Oz to finally be restored to its original release length and glorious Technicolor. More recently it’s been transferred digitally to HD, so it can now be seen as it was originally intended to be in theaters. Yet how many of the millions of Americans who were brought up on the “holiday Oz” have ever viewed the complete film, or anywhere but on the small screen? Now we can put that right, and just in time for the holidays. The Emerald City awaits, in a way most of us have never seen before!

With Judy Garland, Ray Bolger, Burt Lahr, Jack Haley, and Frank Morgan — none of whom were originally intended to be cast in their memorable roles! More about the film’s remarkable backstory at the screening. Also, we have a great new sound system. Come hear! (Running time: 1:42)

Friday, December 9, 2022
7:00 PM
Universalist Unitarian Church of Santa Paula
Free as always!

Our screening in honor of Veteran’s Day (a week early) is the first film to be made about the Korean War, Samuel Fuller’...
11/01/2022

Our screening in honor of Veteran’s Day (a week early) is the first film to be made about the Korean War, Samuel Fuller’s THE STEEL HELMET (1951). Some filmmakers have a special talent for grabbing you by the lapels and not letting go. Fuller was one of those, and he works his low-budget but high-energy magic from the very first frames of this one. The story follows a group of dogface soldiers, focusing on a hard-bitten veteran sergeant (Gene Evans), and a medic separated from his unit (James Edwards). A storyline that could have easily drowned in cliches in the hands of another filmmaker becomes deeply personal for Fuller, informed by his own experiences as an infantryman in World War II, which he integrates into the narrative of this film. Adding to the impact, Fuller uses combat situations to expose the casual racial and ethnic bigotries of the day. Some of Fuller’s portrayals of soldiers in combat were so blunt that he became the target of an FBI investigation! J. Edgar had nothing Sam Fuller, but a number of current filmmakers say they were deeply influenced by this classic B-movie combat picture. (1:25)

Friday November 4, 2022
Univeralist Unitarian Church of Santa Paula
740 E Main Street
7:00 PM

(Note: date change from the usual second Friday)

August marks the 100th film in our SPCS series that began way back in March 2012! So this is the perfect opportunity for...
07/26/2022

August marks the 100th film in our SPCS series that began way back in March 2012! So this is the perfect opportunity for a retrospective, which is taking the form of three films made exactly 100 years ago by the “big three” of silent comedy.

Choosing to screen only films made by Chaplin, Keaton and Lloyd in this one, arbitrary year turns out not to be not such a random idea. By the early 1920s audiences were familiar with feature length dramatic films, but nobody then was certain they would sit still for an hour or more of comedy.

Of the three, Charlie Chaplin was the first to take the chance of making a feature (“The Kid” in 1921), and with its success the following year he released his very last short “Pay Day,” and it will be the first film on our triple-bill. Not to be outdone, that same year Harold Lloyd made his first feature “Grandma’s Boy,” and it comes up second. In 1922 Buster Keaton was a year away from releasing his first two feature films. The lineup will feature one of his last shorts, “Cops.”

Who was the greatest of them all a hundred years ago? That’s up to you, but it should be a lot of laughs trying to decide! (Total running time, 97 minutes).

If Hollywood history owes any debt to director Mitchell Leisen, it’s that both Billy Wilder and Preston Sturges detested...
06/09/2022

If Hollywood history owes any debt to director Mitchell Leisen, it’s that both Billy Wilder and Preston Sturges detested him. Both became so frustrated with Leisen’s indifferent direction of their screenplays that both begged Paramount to be given a chance to direct their own writing. Within a year or so they would get that opportunity, and the movies would never be the same.

Even though he hated him, Wilder, his writing partner Charles Brackett and the journeyman director pulled off one of the great screwball comedies of the 1930s. Wilder later took much of the credit, claiming the film came out so well because he demanded that Leisen not muck around with the Brackett-Wilder dialog. That much is probably true (Wilder was a master at getting his way), but it was also true that the director’s trademark obsessions with costuming and set design details worked in its favor. Had MIDNIGHT not been released in 1939, possibly the greatest single year in American film, this witty twist on the Cinderella tale might have achieved a more prominent place in film history than the one it enjoys.

Starring Claudette Colbert, Don Ameche, Mary Astor, and one of the last screen performances of John Barrymore. (1:34)

June 10, 2022
The film might be MIDNIGHT but we are showing it at 7PM!
Universalist Unitarian Church of Santa Paula
Free as always!

We’re back after taking off the month of October, and it’s guilty pleasure time. For film fans, one of guiltiest of them...
11/03/2021

We’re back after taking off the month of October, and it’s guilty pleasure time. For film fans, one of guiltiest of them all is watching movies made in the era before the Production Code came into full force. In the “pre-code” era, prior to the morality clamp-down by the Production Code Office in 1934, on-screen characters could be bad. Really bad. Unrepentantly bad.

And few of them could be badder than Jean Harlow, who at the time Red-Headed Woman was made by MGM in 1932 was coming fully into her siren of seduction typecasting, and she plays it to the hilt in this one. Harlow is Lil Andrews, a home-wrecking social climber who schemes to sleep her way to the top. Yes, they could do that then! In fact this is one of the films said to be most responsible for the calls to bring down the Production Code hammer. Up to that time it existed mainly on paper, and was easily circumvented. Then along came Joseph Breen as the head of the office, and the direction of American cinema was altered forever.

Sure, these films are tame by current standards (HBO has nothing to fear), but they are still surprising in the way they could deal so frankly with immoral and amoral themes that were placed firmly off-limits by the code for the next three decades, including sexual innuendo, marital infidelity, and bad guys who got away with it. And because of their subject matter and presentation, many of these films disappeared from circulation entirely after 1933, or reappeared only in sanitized versions (and thought unsuitable for TV). Only in recent years could they once again be seen as Depression-era audiences saw them, in all their glorious wickedness.

With Chester Morris, Lewis Stone, Leila Hyams, and Una Merkel (and look quickly for Charles Boyer). Based a novel by Katherine Brush. The screenplay was credited Anita Loos, but one of the uncredited screenwriters was none other than F. Scott Fitzgerald! (1:19)

RIP Pat Hitchcock O'Connell. A sometime actor Hitch's daughter had one indelible role in STRANGERS ON A TRAIN (a persona...
08/12/2021

RIP Pat Hitchcock O'Connell. A sometime actor Hitch's daughter had one indelible role in STRANGERS ON A TRAIN (a personal favorite Hitchcock). She was also the keeper of the Hitchcock flame and will be familiar to anyone who owns DVD editions of his Hollywood films for her interviews. Also a resident of Ventura County, as it turns out.

Pat Hitchcock appeared in some of her father's classic movies.

Marking the passing of the last of the studio era.
08/10/2021

Marking the passing of the last of the studio era.

The former child actor bedeviled Shirley Temple on the screen and went on to star in a series of movies that made her a box-office champion.

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740 E Main Street
Santa Paula, CA
93060

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