GHOSTS OF THE ABYSS
LIFE OF PI
BILLY LYNN’S LONG HALFTIME WALK by Ang Lee
GHOSTS OF THE ABYSS
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Special Features are limited but are excellent.
A rich, vibrant, informative, moving 2016 interview with Director Jack Garfein conducted by film critic Kimberly Morgan.
“I programmed it in 2010 on Turner Classic Movies, and never have I received so much email from viewers. And then we showed it in Telluride, and I spoke to you at Telluride and the audiences there were really taken aback, really, in fact, shocked by the film in many ways.” Kim Morgan
‘So was I, you remember?” Jack Garfein
“Yes, I do remember.” Kim Morgan
“I was sitting next to you, and almost had a breakdown. Because, I suddenly… I looked at that film… I made that film, but any kind of real creation is a subconscious process. The artist himself doesn’t quite understand. I didn’t realize that this film… is me. This character of the girl… is me.
When I arrived here in Manhattan I feel the same pain, the complete isolation, in the sense I tried to connect but it was very difficult to connect. I had to keep everything in myself and go on. When I was liberated in Bergen-Belsen I weighed 48 lbs, I couldn’t walk. I was 14 years old.”
A riveting, must watch interview, about a Director I was unfamiliar with, and unfortunately he would not do another film after SOMEWHERE WILD failed to make an impact at the theater.
The loss is cinema’s.
And then a wonderful, deeply entertaining and humorous 2016 audio interview with star, the effervescent and lovely Carroll Baker. I am now on the lookout for all her films.
And lastly a video interview with Historian Foster Hirsch who breaks down the history of the Actor’;s Studio and Roots of Method Acting.
You’re back… good.
Minor spoilers follow.
ALFRED HITCHCOCK HOUR was a followup to the far more well known ALFRED HITCHCOCK PRESENTS, except true to this revival’s name it offered hour long tales of mystery and suspense.
Rarely seen, or referenced, this series tends to languish in obscurity in comparison to its far more popular and well remembered sibling, AHP. Which is unfortunate because, for the most part I am finding the hour long time-frame (that could easily feel padded) being effectively used by the host of talented writers, directors and stars involved. Not in all cases of course, some episodes do fail or feel overlong, but so far the majority of the ones I have seen, are satisfying and compelling additions to the output of the great Alfred Hitchcock.
Known for her later lauded pairings with her husband and paramour (their relationship had that type of oxymoronic duality, and iconoclastic fire, both on and off screen, that he could at once be her husband, and at once be the seducer who swept her away) John Cassavetes; Gena Rowlands, who at the time of this writing is still with us, in this episode (the first of three yearly episodes she would do for ALFRED HITHCHCOCK HOUR) commands the screen with her beauty and her presence. In RIDE THE NIGHTMARE she offers a beguiling performance, that well foreshadows, while giving us a less damaged version, of those later legendary pairings with Cassavetes.
Also with great performances by genre stalwarts Hugh O’Brian and John Anderson — this is a brutal little bit of unheralded television noir, that builds to a [mild spoiler, skip to next paragraph to avoid it] surprisingly near apocalyptic ending.[end spoiler]
The plot has in the 60 years from there to here, been reused countless times, even in 1962 was slightly formulaic, but what was not and is not formulaic… is the craft that it is told with. That had, and still has, the power to rivet.
These shows can be viewed via streaming. Either free if you can deal with the criminal # of commercials (I can not), or via purchase on (typically) an episode by episode basis. I chose neither of those routes and purchased the entire series on DVD to watch at my leisure.
To get your copies go here:
“What did he say “DVD”? HaHa!! What a geezer!! Wake up Grand-pa! There’s this thing called streaming!! Ha! Ha!”
Yes, thank You.
Very enlightening. I happen to be a big fan of digital and streaming… In its place.
I like streaming for discovering things I want to revisit or own (if ownership by individuals is not a forbidden word in this new age of solely corporate ownership and corporate freedoms), however for revisiting these things, or owning these things, or enjoying these things, I want it in a format where I can enjoy it whether or not I have an internet collection, whether of not a corporate site is down, whether or not that corporate gatekeeper has decided to stop serving that particular show or episode or album or video game.
As the whole world races to embrace ever more gatekeepers on everything the individual touches, it increasingly becomes clear that you can not buy, or sell, or read, or watch, or listen to something whether in your house or your car, without a log of what you have consumed and when you consumed it being stored somewhere, approved somewhere. Something about that does not agree with me.
Something about not being able to buy or sell without having the mark, whether the mark digital or the mark proverbial, something biblically off-putting about that :).
I tend to like being off grid for my entertainment when I can, when I choose. It is the iconoclast in me. I resist the religion of hegemony and the glory of social media in all things.
Here Endeth the Recommendation and the Rant!
I have not put CASABLANCA or THIRD MAN on this list, because although they have noir elements, there is an A picture scope to them in terms of not just budget but aspiration, that transcends the conventions of the noir, they ultimately tell larger tales than the fall or redemption of a single man, which is the heart of the noir aesthetic.
With that caveat aside, onto the list.
I don’t love the cover art for the Eureka release of Billy Wilder’s DOUBLE INDEMNITY (I think they should have gone with the art used for DVD and other releases) , but the film itself is magnificent, one of the greatest film noirs of all time. And a very good Blu-ray release. It is currently the must own version of this film.
3. MURDER MY SWEET (1944)
5 DEVIL IN A BLUE DRESS (1995)
7. THE BIG HEAT (1953)
8. THE BIG SLEEP (1946)
9. I WAKE UP SCREAMING (1941)
10. RAW DEAL (1948)
2020 saw all ten of these films available on quality, feature rich Blu-Ray releases (eff barebone, questionable quality 4K releases — I despise the “no interior artwork, lacking new artwork” 4k releases. I also blame 4k for the further fragmentation and dwindling of a market, that can not survive anymore fragmentation. If you are going to do UHD releases, release them with the Blu-Ray and/or DVD in multi-packs. You eliminate having to have a DVD market and a Bluray Market and a UHD market, and the associated expenses of trying to package for 3 different formats ) for the first time in the relatively short history of physical media. And arguably by the end of 2021 these ten movies will never again all be available in quality, feature rich, physical media versions.
A few posts back I recommended the Warner Brothers Archive distributed, Hammer Studios made CURSE OF FRANKENSTEIN disc, but did point out an issue with its aspect issue. That the so-called wide screen 1:85 version is ‘fake’ widescreen, that basically just zooms in and crops information on the sides and top of the film, and that the 1:66 version is superior to the 1:85 version.
While that is true as far as it goes, I have just seen the special features on the 2nd disc, and the light bulb goes off. The primary feature on this disc is the movie in 1:37, basically 4:3, tv frame. This film was shot to maintain the 4:3 standard, that was very much still the standard for cinema. The viewers they used to frame their shots, everything was 4 by 3. Widescreen in the 1950s was very much a hail Mary, to try and bring people back to the cinemas by giving them something they could not get in their homes… widescreen.
And where widescreen would be used to real effect, by filmmakers as the years went on, watching the 1:37 print, from frame effing one it is clear, this is how the film was meant to look. From the first frame you can see the castle at the top of the screen that the rider is climbing up the mountain toward. a castle that is not discernible in the 1:8 version and you can just make out the bottom of on the 1:66 version.
In the 1:33 version you can clearly see the destination the rider is heading toward. And the rest of the movie is likewise perfectly framed, you no longer get the horses ears getting cut out of the frame, or the tops of people’s heads touching the top of the screen or being clipped out of the frame.
I knew the moment I saw the 1:8 version that it was missing detail. The 1:66 version gave us some of that detail back, the 1:33 finally gives us all the story… and the scales fall from our eyes.
Not only do you gain data on the top and bottom of the frame, you also gain data on the sides. You gain all that information that had the picture feeling… lacking (to differing degrees) in the other two versions.
And the pictures looks great in this 4 by 3 version. I’m over-joyed they included the 1:33 version but am dismayed they relegated it to the special feature disc (that potentially most will not even know about), and the ‘legitimate’ versions will be touted as these fake wide-screen versions.
It actually makes me mad, that the superior version of the film, the 4 by 3 version, was not the marketable version. “Oh but everyone has a widescreen tv, and people don’t want the picture to not use all that widescreen real estate”, even if it means they are actually being sold an inferior viewing experience, under the guise that it is a superior standard.
It reminds me of what is happening with 4K, People are sold this idea that 4k is a superior picture to Bluray, that is is 4 times as good picture wise, and as with fake widescreen, that is not true.
1st, the term 4K is a misnomer sold to idiots, it is not 4 times anything compared to Bluray. It can discern smaller pixels, so roughly twice more dots per inch. But that is about screen real estate, and is not picture quality. It is picture real estate that depending what you are looking at and how it is applied… could be a component of better picture quality, or not.
But as I’ve stated before, in real world situation on a 60″ or less tv, at a standard viewing distance you are not going to discern any notable difference in the resolution between HD and UHD (called inaccurately 4K). What you do notice is the bells and whistles they dress up the marginal difference with, ie Dolby Digital and/or HDR. And that is color grading. And that technology could have just as easily veen applied to Bluray, but then they could not have sold the masses on new Tvs and players.
UHD like Widescreen has the ability to be well used, but it also (as in THE CURSE OF FRANKENSTEIN) has the ability to be lip-service to quality, rather than a true qualitative improvement.
It depends if the people mastering these discs, are just interested in selling you a buzz word and a fad to get you to part with your money, or if they are actually interested and capable of recognizing a superior picture, and providing you that experience.
As with widescreen, sometimes the UHD/4K is just a buzzword with no value, and you are better off getting the 4:3 or Bluray version.
THE CURSE OF FRANKENSTEIN is a great film, and if you have only seen it via the ‘wide-screen’ versions, go to disc 2 and watch the 1:33 version, and see what you have been missing. Highly Recommended!
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