The Time Bending Mysteries of Shahram Mokri (Deaf Crocodile)

Click here for the first movie in the set.

Fish & Cat (2013)

For a 2013 movie, I expected this to look better. My guess is an inadequate camera. Look at that aliasing!

Clipped directly from the BD.

The running time is 141 minutes, not the 134 stated on the box.

Invasion (2017)

The first movie in the set that looks good.

Clipped directly from the BD.

However, the subtitles are horrible. There are typos throughout the set, but those for Invasion are the worst.

Later spelled “Daniel.”
Plus inconsistent placement of quotation marks.

Careless Crime (2020)

Another nice transfer.

Clipped directly from the BD.

These are probably fascinating in Farsi, but I was bored, and not having any of it by the time I got to Careless Crime. All the walking, monotonous dialog, and reading was just too taxing. I would be very interested to see Invasion, maybe even Fish & Cat, dubbed in English.

The Hands of Orlac (Eureka)

Eureka’s BD of The Hands of Orlac (Orlacs Hände, 1924) has one of the most aggressive and inept restorations I’ve seen. Nearly every shot has restoration artifacts.

Be sure to click on the GIFs to see them full size.

Interpolation

The first and last frames of most shots are interpolated. Sometimes it looks like a duplicate pulldown frame. Other times, it introduces some serious distortions. Nearly every example in this section has frames that are completely computer-generated. Faked.

Conrad Veidt’s head stretches, Alexandra Sorina’s fingers split, grain and background warp, plus frozen temporal cloning at the top edge:

The pen is broken up and the rest of the frame is nearly frozen:

Stuck grain and warping throughout:

Hideous computer-generated teeth:

Not a freeze-frame, but interpolation:

Interpolation makes scratches stick to the image:

Here, interpolation is combined with spot removal. At first glance, it’s impressive. Look closer, and you can see that it leaves smudges in place of damage AND it leaves remnants behind:

Notice how the sheets of paper distort:

Here it’s combined with frame blending and frozen temporal cloning:

Interpolation utterly fails when it’s called upon to generate background, such as behind Veidt’s head. And check out his smashed head and hand:

Veidt’s hand becomes putty and merges with the sleeve. The sofa pulsates:

You can see magnetic scratches on the wall behind the now-breathing sofa:

I admit that it’s not always immediately apparent recognizing restoration artifacts on a small screen, but look how obvious it is here when displayed at a fraction of its full size! The man gets smashed. And that background…

Interpolation is combined with temporal cloning on the ceiling lamp and chairs on the left. They now bob up and down:

His body compresses and arm stretches, creating a second wrist. Yikes!

Veidt’s head smashes into an invisible curved ceiling:

Our villain’s fingertips disappear. The disembodied hand on the left is completely frozen:

Interpolation destroys the head:

An example of interpolation that is nearly a freeze-frame, plus some negligible spot removal:

The foot disappears:

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Back Pay (Undercrank)

Like The Valley of Silent Men on the first disc of the set, Back Pay (1922) looks like an as-is presentation. Natural grain, no obvious restoration processing, nice encoding. It looks wonderful.

Clipped directly from the BD.

Back Pay is transferred at 21fps and encoded at 24fps. Too stuttery, but as good as it’s gonna get in our 24fps-or-nothing world.

Content Warnings have Gone Too Far

Content warnings used to be useful. It’s helpful to know when there’s going to be mature language, excessive violence, sex, and the use of fog, strobes, and cigarettes. I’m mixed about warnings of gunshots, since that’s a spoiler, but understandable, given gun violence in the US. These are reasonable warnings to help decide whether someone is old enough to see something or whether they want to be exposed to possible health risks.

However, they’ve lately turned increasingly ridiculous. USC’s School of Dramatic Arts added warnings to everything, which range from dumb to truly infantilizing:

The Importance of Being Earnest, Much Ado About Nothing: “Please be advised this production contains outdated expectations of gender roles and classist statements.” (Screenshot, 2)

Twelve Angry Jurors: “Please note that this production includes adult language and themes.” (Screenshot) Fine, but unnecessary. The description is pretty clear on what the show contains.

Richard III: “Please be advised that this production contains adult themes and language, including ableist language and attitudes, as well as depictions of violence and manipulation.” (Screenshot) So many of these warnings are moralizing dictates on how to think. I’m sick of it.

Rent: “Please note, this production contains adult language and themes, depictions of homophobia, substance abuse and addiction, death and housing vulnerability.” (Screenshot) Who would have guessed that in a musical called Rent, people would be worried about losing their homes? When this first came out, all these “triggers” were why it became popular. It even became a very funny scene in Team America (2004).

Chavez Ravine: An L.A. Ghost Story: “Please be advised, this production contains adult language and themes, police brutality, housing vulnerability, depictions of classism, white supremacy and child abuse.” (Screenshot) From this warning, you’d think it’s a dour experience. I saw the authors perform this at the Kirk Douglas Theatre, and it’s nowhere near the downer USC suggests. The content warning from Center Theatre Group? A concise and spoiler-free “Recommended for audiences ages 16+. Children 6 and under who may cry or fidget are never admitted.” (Screenshot)

Assassins: “Please be advised that this production most likely contains discriminatory language, and depictions of gun violence, death and suicide.” (Screenshot) “Most likely??” Who is writing this garbage? At least have the decency to read the work in question. There are even full bootlegs on YouTube!

New Works Festival: “Please note, these productions are a work in progress, thus they may or may not contain undefined triggering content, images and/or sounds.” (Screenshot, 2, 3) Way to go, further trivializing the word “trigger.”

Nicholas Nickleby, Myths and Hymns, Caught: “Please be advised that this production may contain triggering content.” (Screenshot, 2, 3)

Useless.

Meanwhile, a few miles away at REDCAT…

The Nosebleed: “The Nosebleed contains loud sounds, the depiction of a nosebleed, estrangement with a parent, mentions of death, use of profanity, microaggressions, and mentions of sexual harassment.” (Screenshot) I was kind of interested in seeing this. The description makes it sound worthwhile, but the warning makes me think, “Why bother?”

Magdalene: “Magdalene contains nudity and mature content.” (Screenshot) A good warning that tells me what I need to know. I can read the description and infer further whether it’s appropriate for me.

The more comprehensive and spoiler-ridden content warnings become, the more I’m reminded of the crying scene in Fahrenheit 451 (1966).

The Spanish Dancer (Milestone)

Good grain, natural stabilization, nice grading, few noticeable processing artifacts. Overall good presentation of The Spanish Dancer (1923).

Clipped directly from the M2TS.

Alas, it has some errors.

Quick-reverse:

Quick-reverse on the left, fixed on the right. Both sides corrected to 60fps.

Mindless spot repair:

The full shot also combines frozen temporal cloning and quick-reversing, mostly on the left side. There’s still so much damage. They should’ve left it alone.

Quick-reversing, frozen temporal cloning, and workflow errors. Clipped directly from the M2TS.

Editing error at 47m43s, where eight frames repeat:

Editing error, followed by fixed version. Corrected to 60fps.

Bill Ware’s music is wonderful. It includes a light touch of sound effects, too, but…does every door have to squeak?

The Spanish Dancer is transferred at 18fps and encoded at 24fps with an uneven pulldown. Frequently, a frame gets repeated twice.