{"id":2455,"date":"2010-03-04T17:58:38","date_gmt":"2010-03-05T01:58:38","guid":{"rendered":"http:\/\/www.ogre.nu\/wp\/?p=2455"},"modified":"2016-12-27T02:19:17","modified_gmt":"2016-12-27T10:19:17","slug":"in-black-and-white-and-blue","status":"publish","type":"post","link":"https:\/\/bendwavy.org\/wp\/?p=2455","title":{"rendered":"in black and white, and blue"},"content":{"rendered":"

Gotta agree with Greg Egan<\/a>: <\/p>\n

Sometime in the next twenty years or so, the technology that enabled Avatar<\/i> will become cheap enough to risk employing alongside a moderately intelligent script. <\/p><\/blockquote>\n

It is mighty pretty, though. Among the details, I particularly liked the hemispheric virtual displays in the control room: that sort of thing has been done before, of course, but stereoscopy makes it much more effective.<\/p>\n

For objects very near to the viewpoint, the frame rate seemed to me to suffer; though (from what I read of the process) each eye gets 24 frames per second, same as standard movies. So I wonder what caused that effect.<\/p>\n

Meanwhile, I continue to use Netflix. <\/p>\n

Rebecca<\/a><\/i> (1940, dir. Alfred Hitchcock) recently became available; fortunately needs no introduction from me.<\/p>\n

Love Crazy<\/a><\/i> (1941, dir. Jack Conway) — When Susan (Myrna Loy) tries to divorce him over a misunderstanding, Steve (William Powell) feigns lunacy, because if he’s crazy the divorce must be delayed for five years; but he succeeds too well. Good fun. — The same director made Libeled Lady<\/a><\/i> (1936), which I also recommend.<\/p>\n

Charley’s Aunt<\/a><\/i> (1941, dir. Archie Mayo<\/a>) — A familiar farce of impersonations. Jack Benny<\/a> (who by this time had been 39 for about eight years) is not plausible as a student at Oxford, but who cares? — Speaking of age anomalies, James Ellison was three years older than Laird Cregar who played his father here.<\/p>\n

Suspicion<\/a><\/i> (1941, dir. Alfred Hitchcock) is grossly marred by the happy ending grafted on.<\/p>\n

The Man Who Came to Dinner<\/a><\/i> (1942, dir. William Keighley).<\/p>\n

Woman of the Year<\/a><\/i> (1942, dir. George Stevens) — Two mismatched reporters for the same paper meet and marry; he covers sports, she covers wars. He’s frustrated that she has no time for married life. The story is poignant at times; the resolution is unsatisfying. — Katharine Hepburn speaks French, Russian, German, Spanish and Greek. Presumably she had plenty of coaching, but I wouldn’t be a bit surprised if she spoke three languages already; oddly, IMDb says nothing on this point. Her Spanish had what sounded to me like an Italian accent; that is, had I not been warned to expect Spanish nor listened closely, the rhythm would suggest Italian to my ear.<\/p>\n

To Be Or Not To Be<\/a><\/i> (1942, dir. Ernst Lubitsch) — In occupied Poland, a theater company finds itself stuck with the task of killing a double agent before he can report to the Gestapo. Suspense and comedy (Jack Benny has a leading role) are neatly blended. One may get a bit queasy seeing these Jewish characters triumph and knowing what comes next for them.<\/p>\n

Larceny, Inc.<\/a><\/i> (1942, dir. Lloyd Bacon) — Have I mentioned that I like crime comedies? In this one, two felons buy a luggage store, planning to tunnel into the adjacent bank; but the front business does so well that they’re on the brink of abandoning the bank job when …. [2016:<\/strong> Didn’t enjoy it nearly as much the second time.]<\/p>\n

Up<\/a><\/i> (2009, dir. Pete Docter) — Pixar does not disappoint, though I would not rate it quite as high as Finding Nemo<\/i> or WALL·E<\/i>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Gotta agree with Greg Egan: Sometime in the next twenty years or so, the technology that enabled Avatar will become cheap enough to risk employing alongside a moderately intelligent script. It is mighty pretty, though. Among the details, I particularly … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23],"tags":[],"class_list":["post-2455","post","type-post","status-publish","format-standard","hentry","category-cinema"],"_links":{"self":[{"href":"https:\/\/bendwavy.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/2455","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bendwavy.org\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bendwavy.org\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bendwavy.org\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bendwavy.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2455"}],"version-history":[{"count":10,"href":"https:\/\/bendwavy.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/2455\/revisions"}],"predecessor-version":[{"id":3699,"href":"https:\/\/bendwavy.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/2455\/revisions\/3699"}],"wp:attachment":[{"href":"https:\/\/bendwavy.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2455"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bendwavy.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2455"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bendwavy.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2455"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}