Tuesday, May 21, 2024

Apocalypse Now's changing color-scheme

Here's an orange-tinted frame from just before the Do Lung Bridge sequence that's in common between the Theatrical Edition of Apocalypse Now and the Redux Edition:

Here's the same frame, however, from the 2020 Final Cut:

This image is predominantly blue. It's also much darker, losing the contrast between the treeline and the cloud-line in a mass of black. In some sense, the Final Cut's frame feels more realistic, less psychedelic, which feels like a loss given how woozy and drugged out the film is at this point.



Saturday, January 23, 2021

Google is breaking Blogger. Is it long for this world?

Why You Should Start Your Blog on Blogger

Google has canned the 'quick edit' facility on blog posts. This is insanity. 

Labels for blog posts are no longer functional. WTF?

And Google no longer lists Blogger in its drop-down menu of 'Google Apps'. Uh-oh.

Update Feb 2021: Google has restored the 'quick edit' facility, labels seem to be working again, and Blogger is back in the Google Apps menu! A responsive mega-corporation (or just a sane one?); who would have thunk it?


Wednesday, May 13, 2020

Some Lockdown Viewing


Have enjoyed Mrs America, Varda's One Sings, The Other Doesn't (1977), Prevenge (2016) (and its antecedent, Crimes Without Passion (1934)), and Screaming Mimi (1958). Have been disappointed by a bunch of quite highly praised 2010s films: Obvious Child (2014), Slow West (2015), Victoria (2016). Recent films that were poor: Emma., Underwater, Birds of Prey, the latter two of which I'd describe as ill-conceived & incompetent.

Friday, July 26, 2019

Concorde Blu-ray Brown-arama

Does anyone like or otherwise appreciate the uniform, brown hue of the latest Blu-ray (from Concorde) of Dogville? Here's a typical frame from the dvd:
https://www.imdb.com/title/tt0276919/mediaviewer/rm1898995200
I didn't see Dogville on release at a movie theater, but the blinding white of backdrops & the silvery, shot-on-digital-video look of the dvd image always seemed right to me & to correspond to the very Brechtian, stage-set strategy of the film.
Now compare the dipped-in-brown, Concorde Blu-ray version of the same frame:

I find this strange and, finally, unendurable: for me Dogville isn't worth watching when it's color-mangled like this. What does everyone else think?

Wednesday, March 20, 2019

Big Problems with Paul Greengrass's July 22 (2018)

In the wake of NZ's recent, Breivik-inspired disaster I got around to watching July 22 on Netflix. The basic plan of the film is as follows: the first third restages Breivik's attacks, and the remainder is split about evenly between following Breivik's trial and following the rehab of a seriously injured attack survivor, Viljar. The biggest problem with the film for me is that it leaves Breivik's ideology/politics insufficiently rebutted.

The problems begin with the fact that the actor playing Breivik, Anders Danielsen Lie is significantly better-looking than his model, and in my view Lie's Breivik is also more 'together' than the real Breivik; he's less obviously whiney and pathetically video-games-obsessed just for a start. The upshot is that the film glamorizes Breivik. As for refuting B.'s monstrous ideology, the film-makers seem to believe that just (i) revealing that B. was & is a literal Nazi-sympathizer, e.g., by showing him doing Nazi salutes in court, and (ii) showing that B. ends up in indefinite solitary confinement (Note: B.'s actual sentence was, in accordance with Norwegian law, a little more complicated than that, but Greengrass's simplification strikes me as reasonable) and explicitly contrasting this outcome with his live victims' (esp. Viljar's) on-going, rich social milieus is counter-argument enough. But it really isn't. No kid who's tempted to think that Breivik and other extremists have a kind of 'red pill', and that they are on to some truths that mainstream society reflexively suppresses and evades, will watch 22 July and agree that Breivik was answered let alone comprehensively rebutted.

I dare say too that filming July 22 in Norway-accented English rather than using subtitles inadvertently builds the case for Breivik as a global figure, for the applicablility of his views everywhere.

In sum, July 22 is a kind of disaster. Greengrass didn't intend to do so but he's given poisonous ideology and hatred a worldwide, apparently innocuous platform. People of good will (i.e., for whom invoking Nazism is caution enough) won't see the problem, but for a small number of curious people with wavering wills, especially among the young, Jul 22 as it stands will be a gateway drug to worldwide White Supremacist thought. In my view, therefore, July 22 should always be accompanied by substantial refutation material. Bits of Racism - A History (2007) and The Nazis: A Warning from History (1997) would be a start, but a fully referenced, point by point refutation would have to be included somewhere. Netflix should use its recommendation algorithm to push such materials to viewers automatically, i.e., building on the model of supporting materials it used for Mark Harris's Five Came Back and also Welles's The Other Side of the Wind (to name just two tricky projects for which Netflix got considerable acclaim).

It gives me no joy to make this negative report. The acting and technicals of July 22 are all good to very good, but the inadequate and naive overall concept of Greengrass's film makes it bad and slightly dangerous given the world we actually live in, at least if July 22 is screened unaccompanied as it currently is. To be sure, July 22 is not extremely dangerous and potentially bannable the way an actual pro-evil-causes film, a true contemporary counterpart to Griffiths' and Riefenstahl's monsterpieces, would be. But the problems with July 22 are serious enough that changes in how it is presented are highly desirable and maybe mandatable.

[Update March 28, 2019: Some people believe that one shouldn't ever try to refute mad ideas, that 'to argue or explain is to lose', and that to answer (or diagnose or contextualize or...) vileness nonetheless gives vileness a platform. I disagree. While carefully considered refutations and diagnoses aren't for every audience, when vileness starts writing manifestos and poses as a rationally obligatory response to neutral facts about, say, demography and 'birth rates' then part of the communal response to that vileness must be to expose the spuriousness of its alleged rational challenge. We can't count on being able to talk paranoid true believers out of all their monstrous beliefs, but if we do our debunking job we can make it a lot harder for curious, new people to be gullible and slide supposedly rationally into believing utter nonsense.]

Friday, February 22, 2019

Amazing Directorial Debuts


Someone recently started a 'best directorial debuts' thread with the following three unimpeachables:

  • Citizen Kane - Welles
  • The Maltese Falcon - Huston
  • 12 Angry Men - Lumet

I stumped for:

  • They Live By Night - Ray
  • Night of the Hunter - Laughton
  • 400 Blows - Truffaut
  • Breathless - Godard
  • Who's Afraid of Virginia Woolf? - Nichols
  • Badlands - Malick
  • The Spirit of the Beehive - Erice
  • Eraserhead -Lynch
  • Blood Simple - Coens
  • The Seventh Continent - Haneke
  • Welcome to the Dollhouse - Solondz
  • Gattaca - Niccol
  • Synecdoche NY - Kaufman
  • Son of Saul - Nemes

And a few other debuts seem to me to be a notch down from those but still spectacular:

  • La Pointe Courte - Varda
  • Bob & Carol & Ted & Alice - Mazursky
  • Duel - Spielberg
  • Texas Chainsaw - Hooper
  • Risky Business - Brickman
  • Heathers - Lehmann
  • Reservoir Dogs - Tarantino
  • Shallow Grave - Boyle
  • Once Were Warriors - Tamahori
  • Pi - Aronofsky
  • Hunger - McQueen
  • Get Out - Peele

Bottom Line: There have been so many spectacular debuts that the standard for making a big splash with your first film is the same standard as for making a big splash period (Welles, Godard, Malick, etc. have ruined the curve): Is your film one of the best films of its year/its decade/all-time?

Tuesday, January 29, 2019

A watershed for The 1975

The 1975's third album sees them take a few chances, improve their writing, & broaden their appeal. The key song and vid, 'Love it if we made it', is a bit of a stunner:

'It's Not Living (If It's Not With You)' is as charming an addiction bop as Third Eye Blind ever managed, & really a reminder of The 1975's rare, Beatles-like ability to be 'sweet', to sing love songs and pseudo-love songs like they mean it, like they're still adolescents:

And album-closer, 'I Always Wanna Die Sometimes' is a pretty gorgeous essay in Mansun/Suede/Bends-iana:


Thursday, January 17, 2019

Because the '90s aren't going to bring back themselves: Death Valley Girls

My introduction to Death Valley Girls was their 'What's in My Bag' episode:

Totally the sort of band I dug the hell out of in the '90s. Checking them out further, DVGs are just fun fun fun as far as I can see:

Awesome vibe. Great fun.

Thursday, January 03, 2019

Tove Styrke - A sunnier Lorde is ready for her close-up



And here's Lorde 'passing the torch':

Films on Netflix in NZ (as of Jan 2019)


Netflix at least in NZ has all but abandoned the whole history of cinema. The only pre-1970 films currently streamable (apart from a few WW2 propaganda two-reelers connected with its Five Came Back doc. series) are Welles's The Stranger and the (arguably superceded) theatrical version of Touch of Evil. As recently as 6 months ago Netflix NZ still streamed a few pre-1970 ultra-classics (e.g., Psycho, 12 Angry Men, It's A Wonderful Life, The Good, The Bad, and The Ugly) as well as a few essential period charmers (e.g., Breakfast at Tiffany's, Barefoot in the Park, Seven Brides for Seven Brothers). Now the whole history of film is reduced to a couple of half-assed footnotes to Netflix's own Welles/Other Side of the Wind project. Woebetide, then, any young NZ-er who's inclined to reason that if a film isn't on Netflix then it probably isn't important.

The situation does't get much better if we include 1970-and-after films. Consider my (quite standard, not at all eccentric) list of the roughly 600 best and most important films from 1920-2017. Only 32 films from my list are currently streamable from Netflix in NZ:

  • Touch of Evil (wrong version)
  • Dirty Harry
  • American Graffiti
  • Jaws
  • Barry Lyndon
  • Close Encounters
  • All That Jazz
  • Apocalypse Now (wrong version)
  • Life of Brian
  • The Shining
  • Raiders of the Lost Ark
  • E.T.
  • The King of Comedy
  • Back To The Future
  • Goodfellas
  • Trainspotting
  • Cast Away
  • Mulholland Dr.
  • Master and Commander: Far Side of the World
  • Children of Men
  • Zodiac
  • Synecdoche NY
  • The Dark Knight
  • Inglourious Basterds
  • Fantastic Mr Fox
  • How To Train Your Dragon
  • Life of Pi
  • The Lobster
  • The Handmaiden
  • Nocturama
  • Good Time
  • Mudbound
Thus only about 5% of my (quite standard, not at all eccentric) list of the most important films ever made are currently available on Netflix in NZ. And, with the best will in the world, much of that 5% is almost comically macho and stereotypically boy-centric.

Or look at things the other way around: according to this website Netflix NZ currently has 3490 films in its library; so more than 99% of that library is, by my very conventional lights, something other than best in class. Thus, not only is it absolutely wrong to conclude that if a film isn't on Netflix NZ then it probably isn't important, it is almost certainly right to conclude that if a film is on Netflix NZ then, very probably, it's not that good or important.

Tuesday, July 24, 2018

A Soundtrack for Mamma Mia 3 - Dance (While the music still goes on)


18 great Abba songs that are in neither MM nor MM2:
  1. Eagle
  2. Ring, Ring
  3. That's Me
  4. Disillusion
  5. On And On And On
  6. Cassandra
  7. Under Attack
  8. If It Wasn't For The Nights
  9. As Good As New
  10. Bang-A-Boomerang
  11. Gonna Sing You My Love Song
  12. Happy New Year
  13. Dance (While The Music Still Goes On)
  14. I Am The City
  15. Rock Me
  16. Summer Night City
  17. The Way Old Friends Do
  18. So Long [as the credits roll, Abba's best thumping rocker - all the movies' women can sing it and do Abba's own delightfully dippy choreography]
and on spotify.
I envisage MM3 taking place in Sydney, Australia and as fusing elements of MM and Muriel's Wedding. The climax is a performance by a reunited Abba where thousands of dancers whirl and co-sing around Circular Quay and The Rocks and the Opera House and even on the Harbour Bridge to, among other tunes, an extended/rearranged version of Dance (While The Music Still Goes On). The first 5 or so songs after Eagle on the Soundtrack are set in various locales around the world as characters deal with the frustrations and dissatisfactions in their lives before heading to Aus. for the big reunion. In principle I'd also support MM3 becoming a slightly more general salute to Swedish pop genius, e.g., include a couple of Robyn songs, say, With Every Heartbeat and Hang With Me.

Monday, May 28, 2018

New English subtitles for The Collector (La collectionneuse) (1967)

English subtitles aren't available in the usual places for recent, European Bluray-sourced editions of Rohmer's splendid The Collector (La collectionneuse) (1967), e.g., for releases such as The.Collector.1967.720p.BluRay.x264-MELiTE. I've filled this gap (at least temporarily) by combining old Dvd English subtitles with the timings of recent, release-appropriate Spanish subtitles (a trickier job than it sounds; it took hours), and making the upshot subtitles available without restriction here.

These subtitles are decent but far from perfect (e.g., there's a gap in all existing subtitles at around 30m 45s; the second part of the exchange between Daniel and the villa's Italian cook, to which Haydée mumblingly contributes, goes untranslated, and a joke is missed by those of us without sufficient French; things like google translate make absolutely no headway on this sort of rushed, slightly mumbled, heavily accented French conversation!). Feel free to improve them, and to share your improvements.

Sunday, December 17, 2017

McCartney plays Auckland


Paul McCartney played a wonderful, crowd-pleasing, 40-song show at Mt Smart in Auckland last night. To appreciate just how deep McCartney's catalogue is, however, consider that the list of songs he played the last time he was in Auckland (in 1993) that he didn't play last night includes:
Drive My Car
Coming Up
Another Day
We Can Work It Out
Michelle
Here, There And Everywhere
My Love
Magical Mystery Tour
The Long And Winding Road
Paperback Writer
Fixing A Hole
Penny Lane
I Saw Her Standing There
A show consisting of just these 13 songs would contain more landmarks than almost any other rock show you'll ever see. All Hail Sir Paul!

Update: And consider these songs that McCartney (solely or mostly wrote but) omitted both times:

She's Leaving Home
I'm Looking Through You
She Loves You (a super-close co-write w. Lennon)
I Want To Hold Your Hand (another super-close co-write w. Lennon)
Fool On The Hill
With a Little Help From My Friends
Let Him In
For No One
Got to Get You Into My Life
Eight Days a Week
Hello Goodbye
Martha My Dear
Wonderful Christmas Time
Step Inside Love
When I'm 64
You Won't See Me
No More Lonely Nights
It's hard not to conclude that McCartney could play a show consisting just of songs that he never or very rarely plays that would still probably be the most monumental show (short perhaps of an Abba or Smiths reunion, or a Bowie or Prince resurrection) that you could ever hope to see.