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.
(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.
Dafoe channeling a bit of Lon Chaney in LONDON AFTER MIDNIGHT here? All I want for Christmas is next Christmas so I can finally see this film (Eggers’s NOSFERATU, though I would totally camp out for the midnight premiere of WILLEM DAFOE, CRAZY VAMPIRE HUNTER):
🔗 Willem Dafoe debuts as a 'crazy vampire hunter' in Nosferatu sneak peek (via Entertainment Weekly)
Omnipresent desire to write/explore something of depth and heft again (or for the first time, depending on your opinion of my work). Not sure where or why it surfaced (or why I'm feeling it so markedly now) – other than that I've been spending so much time on more diversionary, light (for me), and entertaining (for me) things while the saga of The Emptying unfolds (or even, it could be argued, since LAST CHRISTMAS IN JULY) and, while I can't deny that I've been having fun doing these smaller things, there's a distinct feeling of creative 🤷 with all of it. Maybe it's an urge to dive deeper into things, to balance what I perceive as me skimming the surface while massive life changes occur (probably why depth in The Work is eluding me; I am now, if nothing else, neck deep in Life) in the world outside the blackout curtains of The Paintshop with more interrogatory – for want of a better word – fare. All I know is that none of the current projects, in progress or percolating, are grabbing me this morning. Is the solution to retrofit depth into decidedly and purposefully breezy, thrilling pieces? Perhaps I worked them past their sell-by date and I no longer recognize the moment they represent? Maybe. Either way, here I am, as ever (and ever)...
