Please join the Ventura Film Society at 7:15pm on Tuesday October 6th at the Century 10 Downtown Ventura for “Listen To Me Marlon”. With exclusive access to his extraordinary unseen and unheard personal archive, including hundreds of hours of audio recorded over the course of his life, this is the definitive Marlon Brando cinema documentary. Charting his exceptional career as an actor and his extraordinary life away from the stage and screen, with Brando himself as your guide, LISTEN TO ME MARLON fully explores the complexities of the man by telling the story uniquely from Brando’s perspective, entirely in his own voice. No talking heads, no interviewees, just Brando on Brando and life. Tickets are $10 general, $7 seniors & $5 students and are available at the VFS Will Call table outside the theatre or in advance from www.venturafilmsociety.com. Thank you for supporting the Ventura Film Society, where we bring people together in the dark. The VFS is proud to present “Listen To Me Marlon”, the 10th of 12 films in our 2015 season. Tickets are $10 general, $7 seniors & $5 students and are available at the VFS Will Call table outside the theatre or in advance from www.venturafilmsociety.com. Visit www.venturafilmsociety.com for more screening information and to see the film’s trailer. VFS Info Line  628-2299. Special thanks to all of our donors, volunteers, patrons, and supporters, especially the Ventura Breeze. Thank you for supporting the Ventura Film Society, where we bring people together in the dark.

Black Mass/ 3 1/2 Palm Trees

by Eduardo Victoria/[email protected]

Black Mass is a tempest of a film that exposes the tragedy, drama, suspense and intrigue of its characters as they slowly but surely have their lives pulled out from underneath them. This is a rare case in which the end result is saved by the tiny details of Scott Cooper’s direction, from the spot on performances, grainy 35mm photography, lavish production design and Tom Holkenborg’s (ditching the Junkie XL moniker for this dramatic project) score, which is a key element in playing up the sadness on screen.

The story starts in 1975 when we meet James “Whitey” Bulger (Johnny Depp), known as Jimmy to his friends and family. As the leader of the Winter Hill gang, Bulger forms an alliance with childhood friend turned FBI Agent, John Connolly (Joel Edgerton) thanks to a meeting with James’ sibling senator Billy Bulger (Benedict Cumberbatch). As an unofficial informant to the FBI, Jimmy Bulger is asked to provide key information to help bring down the Italian Mafia, but does little to abide by their condition of no killing, causing Connolly to spin all the stories he can to protect him.

Really, it’s the film’s presentation which creates an inescapable tone of psychological dread. Stefania Cella’s production design transports the viewer back to the era of Bulger’s time in the Winter Hill Gang without shouting at the viewer that we’re in a period drama. Shot on 35mm, the film has a grainy, dirty patina that lends itself beautifully nighttime events which evoke uncertainty. Cinematographer Masanobu Takayanagi beautifully lights dinner scenes to isolate the fragility and unease around characters. Holkenborg’s music seals the deal, impacting us with a troubled cello melody that keeps morphing throughout the film.

If there’s a standout to the film, it’s Edgerton, who is a great foil to Depp’s cold, calm, and calculating Bulger. As Connolly, we see Edgerton squirm, sweat, panic, and eventually come to crushing realizations regarding his involvement in the very crimes he denies have occurred. Though Johnny Depp’s performance is getting all the attention, it really is Joel Edgerton’s performance that steals the entire film. He’s a great foil to Depp’s cold, calm and calculating Bulger. As Connolly, we see Edgerton squirm, sweat, panic, and eventually come to crushing realizations regarding his involvement in the very crimes he denies have occurred. Edgerton’s lead isn’t surprising however, his previous effort in The Gift (both behind and in front of the camera) earlier this summer was brilliant, and now Black Mass proves that he’s a force to be reckoned with.

I can’t remember the last time I saw a film where every single performance was incredible. Films with major actors in every role often end up wasting actors with little screen time. Black Mass finds a way for every single thespian to bring their absolute best to one of the most intense crime dramas this year. Rory Cochrane heads up the backing cast as Stephen Flemmi, Whitey’s right hand man, while scenes at Boston’s FBI headquarters are ruled by great moments with actors Adam Scott, Kevin Bacon, and Corey Stoll.

Come awards season, Black Mass’ performances will leave everyone talking. The film tells the story of men caught in their own game of cops and robbers with their judgments (particularly Connolly’s) clouded by their own childhood loyalties. It’s a focused character study into the tragedy of those closely associated with the notorious, savage James “Whitey” Bulger.

Playing Century10 Downtown Rating R

Black Mass/ 3 1/2 Palm Trees

by Eduardo Victoria/[email protected]

Black Mass is a tempest of a film that exposes the tragedy, drama, suspense and intrigue of its characters as they slowly but surely have their lives pulled out from underneath them. This is a rare case in which the end result is saved by the tiny details of Scott Cooper’s direction, from the spot on performances, grainy 35mm photography, lavish production design and Tom Holkenborg’s (ditching the Junkie XL moniker for this dramatic project) score, which is a key element in playing up the sadness on screen.

The story starts in 1975 when we meet James “Whitey” Bulger (Johnny Depp), known as Jimmy to his friends and family. As the leader of the Winter Hill gang, Bulger forms an alliance with childhood friend turned FBI Agent, John Connolly (Joel Edgerton) thanks to a meeting with James’ sibling senator Billy Bulger (Benedict Cumberbatch). As an unofficial informant to the FBI, Jimmy Bulger is asked to provide key information to help bring down the Italian Mafia, but does little to abide by their condition of no killing, causing Connolly to spin all the stories he can to protect him.

Really, it’s the film’s presentation which creates an inescapable tone of psychological dread. Stefania Cella’s production design transports the viewer back to the era of Bulger’s time in the Winter Hill Gang without shouting at the viewer that we’re in a period drama. Shot on 35mm, the film has a grainy, dirty patina that lends itself beautifully nighttime events which evoke uncertainty. Cinematographer Masanobu Takayanagi beautifully lights dinner scenes to isolate the fragility and unease around characters. Holkenborg’s music seals the deal, impacting us with a troubled cello melody that keeps morphing throughout the film.

If there’s a standout to the film, it’s Edgerton, who is a great foil to Depp’s cold, calm, and calculating Bulger. As Connolly, we see Edgerton squirm, sweat, panic, and eventually come to crushing realizations regarding his involvement in the very crimes he denies have occurred. Though Johnny Depp’s performance is getting all the attention, it really is Joel Edgerton’s performance that steals the entire film. He’s a great foil to Depp’s cold, calm and calculating Bulger. As Connolly, we see Edgerton squirm, sweat, panic, and eventually come to crushing realizations regarding his involvement in the very crimes he denies have occurred. Edgerton’s lead isn’t surprising however, his previous effort in The Gift (both behind and in front of the camera) earlier this summer was brilliant, and now Black Mass proves that he’s a force to be reckoned with.

I can’t remember the last time I saw a film where every single performance was incredible. Films with major actors in every role often end up wasting actors with little screen time. Black Mass finds a way for every single thespian to bring their absolute best to one of the most intense crime dramas this year. Rory Cochrane heads up the backing cast as Stephen Flemmi, Whitey’s right hand man, while scenes at Boston’s FBI headquarters are ruled by great moments with actors Adam Scott, Kevin Bacon, and Corey Stoll.

Come awards season, Black Mass’ performances will leave everyone talking. The film tells the story of men caught in their own game of cops and robbers with their judgments (particularly Connolly’s) clouded by their own childhood loyalties. It’s a focused character study into the tragedy of those closely associated with the notorious, savage James “Whitey” Bulger.

Playing Century10 Downtown Rating R

Nora reinterprets a classic
by Jim Spencer & Shirley Lorraine

Back in 1879 Norwegian playwright Henrik Ibsen debuted his now classic domestic drama, A Doll’s House.

The story deals critically with the paternalistic attitudes and cultural restrictions imposed on married women in the 19^th Century, who were treated like dolls rather than persons.

The central conflict involves the fallout from an incident where a Victorian era wife, Nora, forged her ailing father’s signature to borrow money for her husband’s ultimately successful medical treatment. Ever since she has been diligently repaying the loan – all facts unknown to her husband, Torvald.

Now, several years later when Torvald is stepping into a management position at the bank, the money lender threatens to, and ultimately does, reveal the illegal act to her husband. Torvald’s only concern is how his image may be damaged if it is known his toy wife committed a criminal act, regardless of the motive.

In 1981 famed Swedish film and theatrical director Ingmar Bergman penned Nora. The script reinterprets Ibsen’s original tale. It deletes now irrelevant details and characters, reduces the run time by over 50%, and spotlights and enhances the character of Nora as a person of savvy and depth.

It is Bergman’s script Nora that is now being presented at the Santa Paula Theater Center.

Presented with no intermission, the drama unfolds in the Torvald and Nora Helmer’s home in a variety of representative settings. The design is simple and effective. Period costuming provided by Barbara Pedziwiatr is well done. Minimalistic lighting gives the production just the right shaded overtones for the mood although, as nearly everyone is dressed in dark colors, perhaps a few more amps wouldn’t be amiss.

Jessica D. Stone holds her own as the initially naïve seeming Nora. As the play progresses, so does her character’s complexity. Contending with her moral dilemma, she ably leads the young wife from frothy to furious in under two hours.

Director Laurie Walters stages the additional characters waiting in chairs alongside the main set, melding into their scenes effortlessly. Additionally tasked to clear and reset the scenes, the actors are fully involved throughout.

Noah Crowe as the condescending husband Torvald maintains a staccato delivery that, especially during long passages, makes him seem more undecided than strong. His character would benefit, in our opinion, from straighter posture and more precise diction.

Additional depths to the plot are added by Maranda Mobley as Nora’s old friend and now Widow Christine Linde, Tyler McAuliffe as beleaguered Nils Krogstad, and Anthony Stetson as the smitten Doctor Rank, all of whom perform their parts with aplomb.

Nora provides ample fodder for discussions of the mindset of men in Victorian times, the progression of women’s liberation and ethics as it relates to actions taken in the name of love.

Nora is on the boards weekends at the Santa Paula Theater Center, 7^th & Main Streets, Santa Paula until October 18, 2015. Times: Friday & Saturday – 8 p.m. Sunday – 2:30 p.m. Tickets: $18-$20. 525-4645 or www.santapaulatheatercenter.org.