TW/FDNY cobranding with the city's new skyline.
Somehow, the full recordings of Harrison Fords barely used V.O. in 1982's initial release still exist, as does the material necessary to elongate the film to let it fill scenes between dialogue and action. The opening titles synch to the 'tears in rain' motif, Leon discovers Gaff's first sculpture, and the Vesper sequence is more elaborate and less mysterious. An uncanny lesson for editors.
"...best of all, an audio commentary by a videogame designer and Kubrick scholar who goes by the handle mstrmnd (and who refused to be interviewed for the actual film). This commentary is just as essential as the film itself, laying out a lucid (if somewhat overtly "um"-infused) tapestry of ideas, focusing on how Kubrick was attempting to make films in the realm in between art and science. He references a number of scientific terms and texts and talks about how the film attempts to access the part of the brain that fills in information for itself, particularly when it comes to the sharp switches in tone and story and the geographic layout of the Overlook Hotel itself. Just when you thought "Room 237" couldn't suck you deeper into its obsessive wormhole, this commentary comes along."
Room 237 is indirectly about emergent language in film. 'Emergent' can mean a simplification of something that was previously perceived as complex. (String theory is an emergent way of looking at the complexity of quarks, neutrinos, protons, etc.).
The subjects in Room 237 obsessively imagine very complex ideas/'conspiracies' surrounding what appears as simple visual syntax. That's what 237 uncovers: the fully amped usage of non-linear syntax. The subjects are basically that: testing subjects for Kubrick's cog-sci tests that build a new type of film language. This new language of his is an evolution. Focusing on the subjects, whether they're 'right' or 'wrong,' rather than the source of their beliefs is missing the point. 237 is about a new take on language.
This is in 237's commentary track. Take a listen.
Note: "Mode Jerk" is a phrase that Kubrick seems to have invented. It describes very generally one of his techniques. A description can be found in Jane Struther's A.I: Artificial Intelligence:
"By impelling the viewer into sudden shifts in time and place, these mode jerks subliminally force us to create the continuity ourselves in order to be able to understand the wider narrative." - page 32