…but I honestly would’t want to spend a weekend in a glass house topped by an ostentatious, big-ass glass dome, much less hang with the guy who owns or has designed it.

Most of us understand that avoiding gauche, declasse people and their environments is a basic requirement in life. If I’m going to fraternize with super-wealthy or super-opportunistic folks I want to stay someplace cool and approvable in an architectural sense. In a home, for openers, that doesn’t say “boy, I sure am wealthy!”

…to come out of The Banshees of Inisherin will be Kerry Condon‘s Best Supporting Actress Oscar. Otherwise it’s an Irish death march — a well-composed, essentially nihilistic film about a self-destructive island of lost souls.

Regional friendo: “Saw Banshhes of Inisherin earlier today. Less than a dozen people in the theater.

“I think a lot of people are expecting one McDonagh thing — more In Bruges wackiness – and getting something entirely different. It’s a very downbeat film, not funny at all (okay, there are maybe one or two chuckle moments), and it quickly becomes obvious why it’s set during the Irish Civil War, which pitted brother against brother, friend against friend.

“What’s going on in Inisherin is the war in microcosm…the violence, the despair, the unforgiving nature. It takes place in an economically depressed setting, one that seems way behind the times with no electricity, no cars, no decent roads, where the police and the priesthood seem to rule over everything.

“Brendan Gleeson‘s character relies on his music to keep him from despair, but it doesn’t really help. Colin Farrell relies on his friendship with Gleeson to help pass the endlessly boring days. And Kerry Condon, truly the heart and soul of this film, knows she has to get off the Island or else turn into a bitter old hag, like the other women in the film.

“Can’t say I enjoyed the fecking movie, and I had some trouble with the fecking accents. But it’s deeper than I expected, and I appreciated where McDonagh was going with it. But boy, is it a downer!”

A friend wrote an hour ago about a movie theatre that decided against going dark during a showing of Till.

Friendo to HE: “This is just one more reason I watch films at home. Me alone at Till at Regal Cinema Hampton Bays on Long Island.”

HE to friendo: “Uhm, what about that folksy, time-honored tradition of strolling into the lobby and asking theatre staffers to turn the lights out during a showing?”

Steven Spielberg is a big fan of Kirk Douglas and Stanley Kubrick‘s Spartacus (’60), and in this AFI interview clip (which appears to be 20 or 25 years old) he shares two or three things that he likes in particular.

One is the duel to the death between Kirk Douglas‘s Spartacus and Woody Strode‘s Draba — short sword vs. three-pronged trident and net. Except starting at 1:28, Spielberg’s memory fails him. This isn’t a felony (we all misremember stuff) but I’m amazed that the AFI crew didn’t stop him and suggest a re-take.

Spielberg recalls that Spartacus and John Ireland‘s Crixus had become friendly, which is true, but they don’t fight each other– Spartacus and Draba do. Spielberg nonetheless recalls that in the dark holding pen adjacent to the gladiator arena, Douglas is sitting across from Crixus…wrong. Douglas and Strode share the pen while Ireland and another guy are fighting. Ireland winds up killing his opponent, and then staggers away, exhausted.

The power of the sequence is that Draba, who has stoically kept his feelings to himself, had told Spartacus that “gladiators can’t make friends…I might have to kill you.” But when Draba has gained the upper hand in the arena and is one trident thrust away from killing Douglas, he instead tosses the trident at the Romans who’ve been watching them from above (Laurence Olivier‘s Crassus, John Dall‘s Glabrus, Nina Foch‘s Helena Glabrus, Joanna Barnes‘ Claudia Marius).

This morning I read portions of David Freeman‘s “The Last Days of Alfred Hitchcock,” a longish book excerpt which appeared in Esquire 40 years ago. From December ’78 to May ’79 Freeman worked with Hitchcock on a script of The Short Night, an espionage thriller what would have been Hitchcock’s 54th film.

The article is culled from Freeman’s “The Last Days of Alfred Hitchcock,” published on 11.30.84.

I was struck in particular by two passages, one about the AFI’s 1979 Life Achievement Award tribute to Hitchcock and Hitch’s reaction in particular to a note from an ailing Frank Capra, and another about Hitchcock’s occasional random interest in young women during his final year or two.

Here’s a link to Freeman’s April 1982 Esquire article.

I watched the AFI tribute on the tube that year, and my impression was that Hitch seemed barely “there” — no apparent energy or intellectual aliveness or curiosity even. He appeared, frankly, to be on the verge of slipping into a coma. I remember in particular that he didn’t seem to recognize Sean Connery when the star of Marnie was at the lecturn. It made me feel quite sad.

Here’s a capture of the Capra anecdote:

Except this guy.

I haven’t seen the forthcoming 4K Casablanca Bluray (WHE, 11.8) but to go by the DVD Beaver screen captures it just looks darker, which is what 4K versions of classic films often provide…inkier, buried in shadow.

Compare the stills of the 4K version vs. the old 2007 Bluray — details you could see with the 2007 Bluray (which is still my favorite) you can’t see as clearly on the 4K. How is that an improvement?

Were the techs who created this inky Casablanca inspired by Criterion’s 2016 Bluray of Only Angels Have Wings? — one of the most bizarre and totally needless experiments in pointless shadow baths? 

Home Theatre Forum‘s Robert Harris, posted on 11.4.22: “Casablanca looks fine in 4k. Blacks may be a bit richer than the previous Bluray, but beyond that I’m not seeing a great deal of difference. I’m seeing some constantly shifting grain patterns, which I can understand as much of the film is taken from dupes.

“Extremely fine in some facial close-ups and medium shots, far more normal in exterior long shots and other bits of the film. The management is obvious, but not a problem.

“If one owns [an earlier 1080p] Bluray version, is there enough of a 4k bump to purchase the film again? I’m not seeing it.”

My favorite is still the good old DNR’d 2007 Bluray. Perfect — I love it like family. I hated the 2012 70th anniversary Bluray, which covered Casablanca in billions upon billions of grain mosquitoes…infinite swarms swirling around the heads and inhaled into the lungs of poor Humphrey Bogart, Ingrid Bergman, Dooley Wilson, etc. Ghastly.

As to the 4K, why would anybody want to watch a Casablanca that’s been shadowed and darkened all to hell? Where is the upside in that? 4K treatments almost always smother with unneccessary inky darkness that often obscures detail.

The 2007 Casablanca Bluray is good enough for me. It’s my little baby, my teddy bear, my blue blanky.

Question: Why does the 4K Bluray jacket use a shot of younger Bogart (taken in the mid to late 30s) wearing a black tuxedo, which his somewhat older character, Richard Blaine, doesn’t wear in Casablanca?  Why?  What kind of perverse or diseased mind says “yeah, that’s fine — Bogart looks a few years younger but so what?  And who cares about the black tux?”.