Museums in Media: Ghostbusters II (1989)
You all have been requesting this one since I started doing these breakdowns, so I apologize for the long wait. It’s been hard to keep up with this side of my commentary, as my job has been putting me through the wringer. Has that improved? Ha! Absolutely not. But I’ve entered my villain era and therefore have decided to put my energy towards things I actually like doing. I’m still on the job search, and I’ll update you all on any positive progress, but until then… enjoy the show.
I will do this breakdown semi-chronologically, à la my Moon Knight post, so that it can be a sort of watch-along – which might actually be a good idea in the future, but I don’t need any more ideas.
Manhattan Museum of Art
The shots used for the exterior of this fictional museum belong to the Alexander Hamilton U.S. Custom House. It was built in 1907 and was a major hub for imports/maritime commerce. It was mostly abandoned (very limited use) in the early 1970s (records vary) as such activities moved to the World Trade Center. It sat that way for some time, with the 1976 Public Buildings Cooperative Use Act saving it from demolition. During the time that this movie was shot, it was undergoing a 10+ year restoration project. While I didn’t do a super deep dive, I wonder if the use of its exterior in Ghostbusters II helped fund this restoration. In 1994, it became the Smithsonian Institution’s National Museum of the American Indian.
Museum Practices
This is our first introduction to our main antagonist, Vigo the Carpathian, and secondary antagonist Dr. Janosz Poha (certified creep even before the spirit possession).
Art Handling
We see art handlers carting the work across the Restoration Department (so called by a security guard later in the film). Some might say that the portrait should be attached to the A-Frame, but I’m going to give props to the art techs here. They are both stabilizing it as they move, moving slowly, and are handling it as little as possible. You can see the art handler on the right is only barely touching the edges and doesn’t seem to put his hand or fingers on the front of the piece. I know there is the eternal glove debate, and I’m not sure where we were on that in the late 1980s, but since no one is wearing them (even those working with chemicals), I’m going to let that go.
Also, I would think a monumental piece such as this would have been in some sort of frame. Since it’s not, the edges should have looked a little weaker/more brittle… but let’s not go there. We can just attribute its excellent condition to the supernatural. We also don’t know its provenance, so anything could have been done to it before it came into the museum’s possession (whenever that was). It’s entirely possible the frame was removed before bringing it in, given that it had been assessed for stability.
Dr. Janosz Poha
Ugh. This guy. He flits around the studio just complaining, critiquing, etc., but shows no desire to lead his team:
“Everything you are doing is bad, I want you to know this.”
Okay? And? He seems to dislike the actual role of leadership and/or mentorship, except for when it comes to…
Dana Barrett
In the first film, Dana is a concert cellist. So, imagine my surprise when she shows up five years later as an art restorer at the Manhattan Museum of Art.
So, how is this possible? While viewing it under a modern lens, this seems like a bit of a reach. However, when viewed as a career move in the 1980s, it might have been much more likely.
Cellist to Museum Professional
As a concert cellist who likely traveled to perform, it must have been difficult for her to maintain that career during pregnancy and after having a child (based on the movie’s dialogue). In the film, she makes it known that she intends to return to performing now that her child is growing. Considering her Oscar’s age (~8 months), it seems she has only been working as a museum professional for maybe a couple of years. I’m curious how a performing musician transitions into a role focused on art restoration.
Education, Training, and Mentorship
It is very possible that Dana received a Bachelor of Fine Arts (BFA), BA in Music, or other similar degree. This could have paved the way for her to gain access to museum work. While the 1980s already had professionalized scientific study in this field, apprenticeships through studios, private study, and institutional programs were much more common. While similar programs are still active, the educational background seems to have become much more rigid in its requirements, meaning that, in today’s world, her music-focused degree might not have helped her out unless she took additional courses.
This leads me to believe that she entered her role through an apprenticeship program with the Manhattan Museum of Art. I’m doubly sure of this due to Dr. Janosz Poha’s clearly massive, and inappropriate, crush on Dana. She is the only one he compliments, and he seems to have taken a special interest in her training, offering guidance on materials, tools, and technique.
Side Note: I want to find a shop like Ray’s Occult Books… IS THAT MICHAEL KORS?!?!?!?!?!?!
NYC’s Subway Systems
If you know me, you know I’m obsessed with subway tile, hidden train houses, and abandoned stations. One of my delusions has me getting a job with the New York Transit Museum to get paid for said obsession. A younger, less responsible, version of me would love to explore these abandoned parts of the transit system.
In the film, they discover a portion of the old Van Horne Pneumatic Transit system, which is modeled after the real Beach Pneumatic Transit line – an experimental underground railway from 1870 that used pneumatic power to move a single car short distances. Demonstrated, but never put to use or expanded.
What I love about the use of underground transit systems in films/television is that it’s completely believable that something – supernatural or otherwise – could happen down there.
Back to the Museum
Project Management
I need an art restorer to chime in on this. At the beginning of the movie, she has just started cleaning a Bonington. Later, she’s working on a Gauguin. There doesn’t seem have been that many days between scenes. So, I’m wondering: With no condition issues or areas that require stabilization, repair, etc., how long does a cleaning take? I hear it can take weeks, even months, depending on workload and complexity. If that’s the case, why is she focusing on another work so soon? It’s possible she was removed from the Bonington project because early cleaning revealed other issues. I don’t know. Perhaps the switch allowed for a variety of environments, locations, and set pieces/props for Dana to make the film more dynamic.
Security
It’s established early on that the Ghostbusters, as local celebrities, are friendly and familiar with the main security guard. This is important later, as it gives them the ability to waltz in, unannounced, and with equipment. Their first visit is relatively tame. Janosz loses it, but he seems to be the only one. I was going to give props to Venkman for not using a flash on the painting… but, thanks to the internet, I learned that it is a Brooks-Veriwide camera known for its ultra-wide angle (best used on architecture and landscape). It also lacks a built-in flash. Close-ups with this camera aren’t technically impossible, but it’s not its primary function. However, they use it for spirit photography, so maybe there’s an in-world explanation for that.
Other Historical Notes & Comments
Ghost Train
I think that was the old New York Central city of Albany! Derailed in 1920! Killed hundreds of people!
Didn’t actually happen, but it’s odd that a steam locomotive (that looks more like a 1800s model) is underground as the subway system was designed for electric. Ghost tracks/ghost train or not. Above ground steam locomotives did exist in New York City, but were eventually done away with.
Ghostly Apparitions
The Scoleri Brothers! I tried them for murder! Gave them the chair!
The Scoleri Brothers were real, apparently. There’s anecdotal evidence that Harold Ramis’ father was robbed by them, which is why they were written into the story (RIP, Harold).
The Portrait
Vigo the Carpathian was a 16th century warlord, tyrant, sorcerer, and was genocidal. He died during a rebellion by being poisoned, stabbed, shot, hung, stretched, disemboweled, and quartered in 1610 at the ripe old age of 105. This tells me that this painting was likely created in the late 1500s – during the majority of his reign. He ruled a fictional Kingdom of Carpathia and is described as “Moldavian” in later dialogue. With that in mind, I’d like you to look up 16th and 17th century art from Eastern Europe, Moldavia (now Moldova), and other nearby Balkan regions and countries. Below are a few portraits from the same general region and time period, extending beyond into mid-17th century.
In reality, the painting used in the film was a large photograph of the physical actor. It was modified and treated to imitate an oil painting. However, the question of visual style still exists. While it’s true that the Baroque style begins around 1600, I don’t think it was seen in this region until later – after this portrait was painted. It even lends itself to late Medieval and early Renaissance with nods to 19th century Romanticism. If I’m trying to “make it work,” there was Ukrainian Baroque, which saw the abandonment of most traditional Byzantine elements to blend with Western styles – but that still doesn’t quite fit with the timeline. At the end of the day, we just have to accept that it’s a photograph in a movie and move on. I’m sure an art historian can provide a more thorough, accurate, and thoughtful breakdown, but this is my humble offering.
The Titanic
It’s some dock supervisor down at Pier 34. He says the Titanic just arrived.
The Titanic was supposed to arrive at Pier 59, while survivors arrived at Pier 54. The rescue ship? The Carpathia… which is a WILD coincidence. Since Pier 59 still exists, I thought it might show up there.
The Statue of Liberty
Honestly, by this point, I’m just enjoying the movie. The only things I’ll say are that she would likely hit the water with more of her exposed than shown in the movie. Our girl is more or less 110 feet tall from foot to head. The water is around 62 feet deep. So, we might have seen more of her than shown. We need to get @shanefanx on this. I’m not a mathematician. Lastly, we can guess that the museum’s location at the southern tip of Manhattan based on the U.S. Custom House real location. So, while she’s moving slowly, she would have arrived in a short amount of time versus if the museum had been uptown.
The Second Portrait
Early Renaissance, probably Raphael or Piero della Francesca
Classic. Heroic. Beautiful. No notes.
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Wow. I really overdid this one #overcompensating
I cannot believe it has been years since I did one of these breakdowns. Let me know what you think, what you noticed, etc. There were a few things here and there that I didn’t cover because “supernatural forces” and implied permissions, so I’d love to start a dialogue on those if you’re interested.
Special thanks to fancaps.net for all the screenshots.