![]() This look isn’t applied to every sequence in the film: as mentioned earlier, Bong didn’t apply the look to the opening and closing of the film, and they have a golden hue here. The rest of the film has the desaturated, greener look. ![]() Since this restoration is working from the original negative (where most modern 4K restorations are sourced) and not from a print that would have been struck after or during the actual process, it means digital techniques would have to be applied in its place, and those digital adjustments are what have led to the results here. For bleach-bypass (retaining the silver in the emulsion, giving the film an undersaturated, almost black-and-white look), the process is usually done at the interpositive or internegative stage, and is usually not something done with the negative, more out of fear of damaging those elements. It’s clear the colours have been altered digitally, and that more than likely has to do with where the process would be done during the actual photographic development cycle and where this restoration is sourced from. If the presentation is going for that bleach-bypass look then I would say it’s fine, with the caveat that it’s not a natural photographic look and the end results definitely have more of a digital sheen it looks a bit off compared to what Seven or even Pitch Black both show. The included trailers have a similar look, complete with the green tint, though I can’t say whether the colour grading of those trailers have been modified for this edition, or are sourced from less-than-ideal elements. Since Bong is known to be a fan of David Fincher (it’s mentioned through the supplements he is a huge admirer of Zodiac at the very least, made after this film mind you) I wouldn’t doubt that Fincher’s Seven-a film that used the same process-came to mind while making this one. Bong mentions right off in one of the included commentaries that, outside of the opening and closing sequences, the film went through a bleach-bypass process, with mention in the included making-of documentary (from 2004) that they were going for a “monochromatic” look. I had never seen the film prior to this, yet I still managed to be a bit stunned at not only how dull the colours are, but also at how green the image ends up looking. Unfortunately, like a handful of other titles released recently by Criterion, there was some online controversy around the presentation's colour grading. The image is also clean and free of noise, at least as far as I could see on my television. Outside of a few minor blemishes damage is not an issue, and the presentation ends up being incredibly sharp and clear, retaining a mostly film-like consistency to it. The 1080p/24hz high-definition encode is sourced from a new 4K restoration. Bong Joon-ho’s Memories of Murder comes to Blu-ray through The Criterion Collection, presented on the first dual-layer disc of this two-disc set in its original aspect ratio of 1.85:1.
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