complete
All 11 of the Denny O’Neil / Neal Adams Batman collaborations have joined The Collection. Happy / merry / etc etc:
/0652
Thought I wanted to write something here – and maybe I yet do, in this space nearing the end of the morning's workblock – but thenagain IDK but: MacroParentheticals 0150, featuring my favorite things of the year, is in the send queue, departing for parts known and un– tomorrow morning at 0700 EST. So there's that then. I’m weary.
the emptying, ctd
(previously…) Donation center came today and between the six of us and two moving vehicles, had the place emptied in 90 minutes. All that’s left is to clean, get the old fridge and freezer out and to the local appliance store for recycling, and clear out the final bits left over.
The Informalities :: Photo Op
The start of a new series of hand-drawn whenever/whatever comix, scratching both my zine-y/comix itch AND finally returning The Informalities name back to this space. Had a lot of fun with this – expect more of these little experimental diversions. Right click, save image as, print, fold / cut (follow these instructions), read / decipher, dig, keep / toss.
HIGH AND LOW (Akira Kurosawa, 1963)
(Directed by Akira Kurosawa from a script by Ryūzō Kikushima, Hideo Oguni, Elijiro Hisaita, and Akira Kurosawa; starring Toshiro Mifune, Tatsuya Nakadai, Kyōko Kagawa, Tatsuya Mihashi, Tsutomo Yamazaki, and Yutaka Sada. Released 01 March 1963; watched 2023w51 via Criterion Channel)
Had to restart because I was too exhausted to appreciate it on first viewing, but once I did, it handily became my favorite Kurosawa film: tight, taut, and at the same time, free-flowing – especially in the second half (similar structure to IKIRU) –, unafraid to take lengthy divergencies into the intricacies and frustrations of police work (reminded me of Jules Dassin's THE NAKED CITY in its procedural aspects – the briefing / report sequence was riveting – and its eye for locational verisimilitude). Mifune is, unsurprisingly, electrifying – never have I been as inspired to consider shoes so passionately – as is Tsutomo Yamazaki as the desperate, deadly, and ultimately broken kidnapper (how inspired, I wonder, was Frank Miller by the shot pictured above when he designed Kevin in the first SIN CITY yarn?). One of the essential crime films - and perhaps one of my favorite films: if it's not on the list, it's certainly nearing it. Will be adding to the collection post haste.