Tomorrow (7.1.19) is the 60th anniversary of the opening of Alfred Hitchcock‘s North by Northwest, which premiered on 7.1.59 in Chicago, and on 8.7.59 at NYC’s Radio City Music Hall. Which was never, by the way, the greatest place to see a film — too cavernous, echo-y sound, too long a “throw.”

The anniversary prods a recollection — a NXNW-related incident that happened 38 or 39 years ago. A titanic projection error plus management failing to respond in a timely manner led to a general over-reaction. I was partly to blame.

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Excerpt from review of Kino Lorber’s Lost Highway Bluray, posted by DVD Beaver’s Gary W. Tooze: “Having lamented that this Bluray is not from the original camera negative, director David Lynch has disavowed this release. Kino requested David’s involvement in preparing the Bluray, [but] for whatever reason, the collaboration didn’t transpire and Kino has released this Bluray edition.

“How does it look? Solid. Even if not from the original camera negative, it looks superior to the 2010 mk2 Bluray out of France. I prefer the colors (warmer flesh tones, earthier hues), it is authentically darker, shows more information in the frame, etc. It’s the best this film ever has ever looked on my system.”

Kino Lorber statement: “We reached out to Mr. Lynch via email to oversee and color grade a new 4K transfer (from the original camera negative) and get his approval on the dozen or so extras we had planned to include. Once we knew he was not interested in working with us, we had no choice but to go ahead with the current Universal master and the few extras we had already produced and acquired.

“To our surprise, the master in question was a very good one, so we were happy to release it with some extras. We found out later that the extras and packaging also had to be approved by him (not the norm) and we sent email after email without one response.

“We delayed the release by a month, hoping we could at least get him to approve the trailer, the essay and our packaging. At this point we knew the interview and commentary were not possible, but after a few more weeks we dropped the essay, the trailer and changed our front art to the previously approved DVD art. The BD only includes the film on a dual-layered BD50 disc, maxing out the feature at 30mbps with 5.1 surround and 2.0 lossless audio. We were planning to take the high road and not play the blame game, but after his tweet this weekend, we felt like we had to respond.

“We’re still huge David Lynch fans and are proud to release one of his masterpieces on Bluray.”

I ran into Stuber costar Kumail Nanjiani (accompanied by wife and Big Sick co-writer Emily Gordon) at last Monday’s Midsommar screening. As an ice-breaker I said I was somewhat depressed by a story Nanjiani shared with N.Y. Times “Carpetbagger” Kyle Buchanan, the one about a friend casually proving that 20somethings don’t watch movies as a rule, and at best incidentally.

We’d last spoken at a Santa Barbara Film Festival party, although neither of us could remember that particular detail at the moment. Nanjiani is cool, casual, unpretentious. HE hereby conveys a stamp of “bruh” approval.

Stuber screens in Century City on Tuesday night. Excerpt from Peter Debruge’s 3.14 SXSW review: “One other detail that differentiates Stuber from your average action comedy: The movie embraces the real-world physics of gunplay, car crashes, and hand-to-hand combat –— obviously bent for both dramatic and comedic effect. People die, often and quite brutally, while the characters attempt to pull off tricks they’ve seen in other action movies, but frequently with far different results.”

Don Lemon: “There seems to be this idea that Joe Biden is the strongest candidate [who could] beat Donald Trump. But you actually look at past Democratic candidates who won…Bill Clinton was a fresh face [in ’92]. Barack Obama was a fresh different face. Al Gore, who had been in office a long time, did not win. John Kerry did not win as well. What do you think about this idea that it has to be an older white male who can beat Donald Trump?”

Pete Buttigieg: “The pattern you’ve just described shows that possibly the riskiest thing we could do is to try and play it safe in that way. Think about this. My home state of Indiana went blue once in the last 50 years. And it wasn’t for Bill Clinton or John Kerry or Jimmy Carter. It was for Barack Obama. Now, if we were sitting here in late June of 2007 and saying ‘let’s find somebody so electable, so palatable, so easy for swing voters to get comfortable with that [candidate X] could even carry Indiana for Democrats.’ I’m not sure that a lot of people would have said the name of Barack Obama. But we was able to move people and inspire people.”

I hadn’t watched A Clockwork Orange for a good five or six years, perhaps seven or eight. Quite a while. So I gave it a go yesterday, and it’s still brilliant, of course — perfectly composed and designed and punctuated to a fare-thee-well. It’s looking, I should add, a bit less for wear by current standards. It looks “okay” but not as sharp or robust as I’d remembered. It’s high time for a fresh 4K remastering as well as an actual 4K disc — why piss around at this stage? I want my Clockwork bump.

Stanley Kubrick‘s 1971 classic remains a chilly, dead-on capturing of Anthony Burgess’s 1962 novel mixed with a portrait of the chilly German-like social scientist that Pauline Kael imagined that Kubrick had become, and indeed the fellow that Kubrick had more or less evolved into since he made Dr. Strangelove seven or eight years earlier.

It’s still a crisp, clean, jewel-like film, and I’ll never stop worshipping that final shot of those well-dressed 19th Century couples clapping approval as Alex and a scampy blond cavort in the snow. But man, it’s really cold and almost induces nausea from time to time. And a fair amount of humor. I laugh every time I see that fat, middle-aged fuckface making kissy-face gestures at Malcolm McDowell‘s Alex in the prison chapel.

And anyone who says that the first act wasn’t meant as a darkly enjoyable romp is self-deluding. In the second and third acts Kubrick was lamenting or frowning upon the perverse, animal-like behavior of Alex and his three droogs, yes, but not in the first. Those who claim otherwise are ignoring the obvious out of loyalty to the legend.

Orange obviously delivered a moral point (morality without choice isn’t morality) but re-watch that first act and tell me Kubrick wasn’t getting off on some level…that he wasn’t savoring a certain enjoyment while shooting those acrobatic beatings and that horridly cruel musical rape in Patrick Magee‘s home, not to mention the one that almost happens before Alex’s gang challenges Billy Boy’s crew to a rumble.

And that long, slow third act in which Alex has to suffer an endless post-penal gauntlet…punished and clubbed and condemned ad infinitum. And those idiotic deux ex machinas! Meeting the same old alky and getting beaten up by his old friends, discovering that his old droogies have become hooligan police officers, accidentally staggering into Magee’s home a second time and apparently not recalling what had happened there before, as evidenced by Alex moronically singing “Singin’ In The Rain” while taking a bath…the mind reels.

I worked as a tree surgeon in my madness-of-youth days. Scaling, shaping, cabling and removing portions of trees. Ropes, leather saddles, climbing spikes, chain saws, pole saws, pole clippers and so on. The first time I ascended to a height of more than 20 feet I was scared — holding on for dear life. But you gradually get past that and before long you’re almost a spider monkey. You know what to do and how to go about it, and any fear of falling is pushed into the depths of your psyche or, you know, more or less ignored.

Early this morning or during the hour of the wolf, I dreamt I was 80 or 90 feet high in a huge, century-old eucalyptus tree, but without my climbing gear and once again hanging on for dear life. It was my task to somehow cut loose a huge leader that had snapped and half-fallen but was still hanging onto the main trunk. No way was I even thinking about how to accomplish this task. I would have had concerns about this kind of job during my tree-climbing peak days, let alone in the year 2019.

The feeling I had as I evaluated my situation was a metaphor, of course, for how I sometimes feel about writing Hollywood Elsewhere, and the thoughts of possible doom and tragedy that nibble at my soul, and of the hungry salivating wolves waiting below if I should fall and crash into the ground and break my back in the bargain. Then I felt myself slip. I woke up like Jimmy Stewart did from his Madeline Elster nightmare in Vertigo.

Nice life, huh?

When I’m feeling down and low I sometimes browse the Daily Mail and check out photos (and sometimes videos) of hot rich couples vacationing and lying on beaches and bopping around. Like, for example, former model, reality star, designer and businesswoman Heidi Klum, 46, and her 29 year-old fiance Tom Kaulitz, the German-born lead guitarist for Tokio Hotel.

They’re in Paris (or were a day or two ago) while Klum was shooting footage for “Making The Cut“, an Amazon fashion competition series with her Project Runway collaborator Tim Gunn.

What the hell am I doing, sitting in my home on a Sunday afternoon and writing about Heidi Klum and Tom effing Kaulitz? I’ll tell you what I’m doing. I’m sighing and shaking my head over the fact that she and Kaulitz visited Paris Disneyland (presumably for the benefit of her kids as no ostensibly hip, ahead-of-the-curve, self-respecting traveller visits that nightmare destination) as well as the Louvre (which ISN’T pronounced “Loov-RAH” any more than ensemble is pronounced “ehn-sahm-BLUH”), and the video they posted was in portrait mode. Klum has been rubbing shoulders with sophistos for a quarter-century, and even SHE shoots videos like a high-school kid roaming around a North Carolina shopping mall.

Our natural eyesight delivers a Cinerama- or IMAX-like panorama, for several decades movies and TV shows have delivered images that are more wide than tall, and just about everything of a visual presentational nature over the last several centuries has been more wide than tall. And yet when people shoot video on their phones they default to effing portrait mode, which instantly eradicates any semblance of visual intrigue. What kind of submental impulse leads people in this direction?

Before shooting video you need to (a) hold your phone vertically and then (b) tip it 90 degrees to the left so you’re shooting with a 16 x 9 aspect ratio. How hard is that? Where’s the difficulty? I’m asking.