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February 05, 2010

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lazarus

Brian, I don't think it's so much a "training" sequence as it is a back-to-basics rejuvenation, the swimming pool acting as a baptism of sorts, to flush the whiskey money out of his body so he can come back to the game pure again, and I think the musical selection supports that. It's not like they put a Survivor song behind it. Also, the eye doctor scene refers back to the quote used in Raging Bull about "once I was blind and now I can see".

Also, Minnelli and Powell both seemed very much on the brain (and in the heart) in New York, New York, though Marty certainly perfected the result of those influences with the later film.

Brian

Lazarus-- interesting thoughts on the pool scene. I should really go back and look at the film again, as it's been awhile. But I love your intepretation, and it really makes me curious to see it again. Yes, I agree about NY, NY (another film I really love). I honestly get more out of those two films (and AFTER HOURS and THE KING OF COMEDY) than I do out of RAGING BULL or TAXI DRIVER, as great as they both are. I don't know if you could still say there's overlooked Scorsese, given that his work is constantly being re-evaluated, but I find the films that have fallen into that category in the past (KUNDAN, too) to often contain his most interesting stuff.

bill

I still haven't seen AGE OF INNOCENCE. Clearly, that's my loss. I'll get on it.

Fuzzy Bastarrd

AGE OF INNOCENCE seems to be slowly but surely moving up in the critical pantheon---I think by the time it gets a Blu-Ray release, it'll officially be one of the classics.

@ Brian: Agreed, King of Comedy just gets better and better. I actually think it doesn't get discussed as much as TAXI DRIVER and RAGING BULL because it's so much rougher to watch---it refuses to give the audience any release, even the release of violence. Ricky Gervasis owes Rupert Pupkin daily royalties for trailblazing the agonizing comedy of awkward.

Cadavra

Glenn, not to take anything away from Thelma and Marty, both of whom I adore, but given the issues involved, why wasn't the DP, Michael Ballhaus, involved in supervising the GANGS transfer?

Glenn Kenny

Cadavra, I haven't the foggiest. All I know is that for the first Blu-ray—the bad one—NOBODY from the production team was consulted, and it was a disaster. (Bob Harris suspected they actually used the same master that they used for the standard def edition.) What's interesting about the new, improved version is that it came out without much fanfare at all. My silly posturing in the "Auteurs" piece (in the interest of comic effect) aside, I don't have any real idea about how the new version came into being or who oversaw it, although I presume it was commissioned at least partially as a result of some disapprobation coming from Scorsese's camp. I don't know the extent to which Ballhaus gets involved with this stuff...

Fabian W.

I think Ballhaus supervises some of the transfers - I remember reading an interview (by Tom Tykwer) where he said that the DVD of "Bram Stoker's Dracula" was actually superior to the theatrical print because there was more time for color-coding and some such stuff. He also talked about the digital transfers for his films with RWF. And he clearly has great affection for "The Color of Money" - when he was awarded for his achievements as a DP a few years back here in Berlin, it was the movie he personally chose to be shown before the ceremony.

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