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I wish to mention two additional elements of Ghostbusters, one of which allows it to resonate even with younger generations, and one that makes it one of my personal favorites.
The first is that the film, while very funny, ultimately would work even if it was done more seriously. It's interesting to look at the deleted scenes, because you see the film evolve from something goofier (Aykroyd and Murray doubling as bums) into the more straightforward adventure story that we ended up with on screen. My brother and his friends weren't even born when the film came out, and yet it is one of those that they instantly took to because the humor is balanced with the story.
The other thing about Ghostbusters that accounts for my personal affection for it is how much of a character New York of 1984 is in the film. While it is true that much of the film was shot in Los Angeles, it is set in New York for a reason and many of the funnier jokes come about because of the jaded reactions people are having to some of the supernatural phenomena (and allows the public amassing on Central Park West at the climax of the film to emphasize the danger).
I don't mind the grain so much because it does fit the tone of the film, but the new transfer does look a little oversoft at times. Ironically some of the visual effects look cleaner than the surrounding footage; the shot of the ghosts flying over Manhattan is absolutely arresting.
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Oh, and about What Goes Up (better title: What Goes Off, as I couldn't get through the first half hour, what with everyone looking absolutely morose the entire time), the director's name is Jonathan Glatzer, not Glazer (the music video/sometimes film director). Even knowing that it wasn't the latter when I started watching it, when Glatzer's name came up on screen, I still got a twinge that said, "Whoa, Jonathan Glazer directed this?!?"
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Posted: |
Jun 22, 2009 - 7:58 AM
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By: |
AndyDursin
(Member)
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Oh, and about What Goes Up (better title: What Goes Off, as I couldn't get through the first half hour, what with everyone looking absolutely morose the entire time), the director's name is Jonathan Glatzer, not Glazer (the music video/sometimes film director). Even knowing that it wasn't the latter when I started watching it, when Glatzer's name came up on screen, I still got a twinge that said, "Whoa, Jonathan Glazer directed this?!?"
Thanks Sean. That was one of those movies where literally you sat there going, "what were they thinking??" Though I confess I also didn't make all the way through it.
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If the opticals were originated on 65 millimeter or VistaVision (if I'm not mistaken, it was the former), it makes a certain amount of sense that they might have a less visible grain structure than the surrounding 35 millimeter footage.
Perhaps some of this film was shot on film from the same batch of Kodak that Aliens and a few other movies from right around then was; the grain mightn't have been as apparent previously because the film was shot anamorphically.
I agree with you that the contrast seems to still be off here, too.
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