Then I got in touch with Raz, and we went to see Ghost Rider, which is the sort of thing that proves that filmgoing is, in fact, an addiction. We knew was going to be pretty lousy and it was, but we went to see the damn thing anyway. So we decided afterwards that the best thing for us to do would be to veg out with the Bill + Ted duology, which actually was quite therapeutic.
I then got a call from jailnurse, who had run out of gas somewhere near Ho-Ho-Kus (I'm not shitting you, I guess the place was named by Velvet Jones or something), so we piled into The Bronze Mist to go help him out. I happened to have a gas can in my car... although when we finally got jailnurse to a station, it turned out to have been a leaky gas can, and the first three stations we went to didn't have any others. Eventually, that all got sorted out, though, and we went to Greek Disneyland for a bite to eat. Then I dropped Raz off and collapsed into a boneless heap.
Now, that leaky can means that the cab of The Bronze Mist now smells of gasoline.
Oh, and that coffee machine lasted only one day. The lock on the hatch that opens the spot that you're supposed to put the pods into had to be forced in the first place, and today it just broke. No wonder my grandmother never used it.
John Belushi teaches some pushy fans a lesson or two.
I did, however, manage to nab the Criterion remasters of Yojimbo and Sanjuro while I was out. I popped in Yojimbo for a few moments to check out the restoration and the results were well worthwhile. The new anamorphic transfer is absolutely eye-popping in contrast and detail.
Interestingly, the Perspecta ersatz stereo sound on these two films is presented in Dolby 3.0, as was the Perspecta effect on Criterion's The Hidden Fortress. The added directionality does add significantly to the experience of the film, though I wonder if Criterion didn't beef up the frequency response of the track just a little bit. While I'm not a big fan of 'electronically enhanced for stereo reproduction,' Perspecta was a method for non-discrete directionality where the dimensional effects were specifically applied, thus making it not so different from a sort of Dolby Surround, only it's a monaural-to-stereo process instead of stereo-to-surround process. As a result, while the it is indeed primitive, it nevertheless is intentional and clearly much closer to the Kurosawa's intentions with the film than the mono track. Kurosawa would go magnetic stereo with Red Beard in 1965.
I am not yet finished with the supplements on The Seven Samurai, but these two discs are right on deck as soon as I am.