A Few Words About A few words about...™ Moby Dick (1956) -- in Blu-ray (1 Viewer)

[lark144]

I saw MOBY DICK when it opened, believe it or not, at a kiddie matinee at my neighborhood theater. And I loved the de-saturated look of the film. When I was a child, many of my dreams had that same look; greyish-green, people's flesh taking on the texture of moldering parchment--for me it enhanced both the allegorical & nightmarish qualities of the film. I have not seen the film since; though I have the Blu on order am looking forward to it. So I've never seen the film in normal color, and therefore will expect it to look dank, dark & grey. But more than that, my memories of the film, both visually and emotionally, especially the climax, exist within that muted, monotone color scheme.

But I do understand about pre-conceptions in terms of one's first viewing of a film. For example, I saw Huston's REFLECTIONS IN A GOLDEN EYE second run; and I will never forget the luminous color palette. When the DVD came out, it was timed according to Huston's original plan of everything having a golden cast. Though I was expecting it, I still miss the beautiful colors that I remember from my first viewing. In fact, the sensuality of those colors, especially the reds that Elizabeth Taylor wore, I think worked much better with the theme of the film than all that muted gold. It's more of an intellectual idea than a visceral, cinematic one, in my opinion, at least in terms of REFLECTIONS IN A GOLDEN EYE.

 

[lark144]

I have several problems with this film. It always helps to be specific to help people understand it isn't just "I don't like it because I don't like it".

Bradbury's script is very literary, which makes sense for Bradbury. But it doesn't feel cinematic. The acting doesn't at all live up to the dialogue and it feels wordy and awkward, not personality based or real. Huston as a director could hit it out of the park if the pitch was straight and down the middle, but when faced with curve balls, he often struck out. I think the sepia look is completely wrong headed and the effects don't live up to the scale of what is going on. It's as if the limited palette is trying to hide the clunkiness of the effects. But by far the biggest problem is the internal story of Ahab. It just doesn't come across. Stuff just happens. And it happens at a deliberate pace through most of the picture making it hard to slog through. I see this film as an interesting misfire, not a classic in any sense of the word.

Your view of MOBY DICK is very similar to what Andrew Sarris wrote about the film. (I have always felt that Andrew Sarris was the best American essayist on film of the 1960's, so you should take this observation as a compliment) In fact, I think in AMERICAN CINEMA, Sarris writes that MOBY DICK was kind of a turning point for Huston, in that he attempted to express the ideas of the text (& Bradbury's script) through technical rather than cinematic & emotional means, by draining the color, instead of directing the actors and composing the images and therefore failed, causing him to retreat into less ambitious projects, at least for the rest of the 50's & 60's. Sarris also didn't like the fact that Huston often composed on an angle, at a distance, and cut on static compositions. This is especially prevalent in TREASURE OF THE SIERRA MADRE, for example, the scene in the bar where Bogart & Tim Holt beat up their employer who is trying to stiff them and take his money. It's more painterly & literary than cinematic. It's also very cold and detached. Nonetheless, I love Huston's films, even many of the bad ones. But I just wanted you to know that I appreciate your well reasoned and cogent argument.

 

[bugsy-pal]

Your view of MOBY DICK is very similar to what Andrew Sarris wrote about the film. (I have always felt that Andrew Sarris was the best American essayist on film of the 1960's, so you should take this observation as a compliment) In fact, I think in AMERICAN CINEMA, Sarris writes that MOBY DICK was kind of a turning point for Huston, in that he attempted to express the ideas of the text (& Bradbury's script) through technical rather than cinematic & emotional means, by draining the color, instead of directing the actors and composing the images and therefore failed, causing him to retreat into less ambitious projects, at least for the rest of the 50's & 60's. Sarris also didn't like the fact that Huston often composed on an angle, at a distance, and cut on static compositions. This is especially prevalent in TREASURE OF THE SIERRA MADRE, for example, the scene in the bar where Bogart & Tim Holt beat up their employer who is trying to stiff them and take his money. It's more painterly & literary than cinematic. It's also very cold and detached. Nonetheless, I love Huston's films, even many of the bad ones. But I just wanted you to know that I appreciate your well reasoned and cogent argument.

Man, I agree with you so totally about Andrew Sarris. He was so perceptive, so sensitive about what was going on in a film and what the director was doing, and he wrote so beautifully. Huston was not in his 'pantheon' but I think Sarris appreciated him for what he achieved. There is a certain clunkiness to Huston at times - but I can forgive just about anything with the guy who created the definitive 'Maltese Falcon'...

 

[bigshot]

I really like Wise Blood.

 

[PMF]

We all bring our own cinematic sensibilities, critical faculties as well as our own baggage when we watch a movie. There isn't a great film out there that doesn't have its haters or a bad film that doesn't have its defenders. Personally I find It's A Wonderful Life, The Grapes Of Wrath (the film, not the book), Amadeus and Goodfellas pure drek but the accumulated consensus is that these are "great classics". I won't argue, I just don't have to watch them.

I gave you a "Likes" vote, as I couldn't agree with you more.
Case in point, I happen to like the four aforementioned films that you dislike; and it was very brave to openly cite such titles as "drek". In fact, I was quite surprised by the arch of "drek"; but make no mistake, as I am not about to serve up a curve-ball, here. I wholeheartedly agree with your statement. As it is, I've always understood a buff or fans reasons for helping one to understand the attributes and glories of a film loved; but when others begin to argue, sway and pitch their reasons for getting one to dislike a film remains baffling to me. In truth, "Moby Dick" was not impulsively a film I was going to entertain for purchase. It didn't leave an impression on me. But, then again and upon reading RAH's history of the film, I opened my mind to it. I had recalled that my initial viewing of "Moby Dick" was decades ago, in B/W, on a small T.V. and, undoubtedly, not near the visuals now being rescued by TT. Your statement sums it up. But that's the beauty of film and the importance of restoration (or facsimiles, thereof); as many a film now has that second chance of being re-visited by any one individual down the road, who was once on the fence. And the best part of it all is that a film we once shrugged off from decades ago can end up being a new favorite, leaving us to wonder why we didn't see its greatness, in the first place. Be it the circumstances within our viewing lives or the Colors from the lab, itself; timing is all.

 

[PMF]

Is it known what "Moulin Rouge" faces in terms of restoration work?
Not wanting to stray too far off from "Moby Dick", but in many ways this question adheres, as "Moulin Rouge" was also a collaboration between John Huston and DP Oswald Morris, to which their goals were towards another unique and very specific look. If memory serves me correctly, I believe theirs was a daring and artistic stray from what the folks at Technicolor had normally allowed.

 

[Carcosa]

I never cease to be amazed at those who let the perfect be enemy of the (in this case, very) good.

VERY VERY good!

 

[Thomas T]

I gave you a "Likes" vote, as I couldn't agree with you more.
Case in point, I happen to like the four aforementioned films that you dislike; and it was very brave to openly cite such titles as "drek". In fact, I was quite surprised by the arch of "drek"; but make no mistake, as I am not about to serve up a curve-ball, here. I wholeheartedly agree with your statement. As it is, I've always understood a buff or fans reasons for helping one to understand the attributes and glories of a film loved; but when others begin to argue, sway and pitch their reasons for getting one to dislike a film remains baffling to me. In truth, "Moby Dick" was not impulsively a film I was going to entertain for purchase. It didn't leave an impression on me. But, then again and upon reading RAH's history of the film, I opened my mind to it. I had recalled that my initial viewing of "Moby Dick" was decades ago, in B/W, on a small T.V. and, undoubtedly, not near the visuals now being rescued by TT. Your statement sums it up. But that's the beauty of film and the importance of restoration (or facsimiles, thereof); as many a film now has that second chance of being re-visited by any one individual down the road, who was once on the fence. And the best part of it all is that a film we once shrugged off from decades ago can end up being a new favorite, leaving us to wonder why we didn't see its greatness, in the first place. Be it the circumstances within our viewing lives or the Colors from the lab, itself; timing is all.

I just wanted to clarify in case there was any confusion. I'm a great admirer of Huston's Moby Dick (and Huston's work in general) and have been a champion of it since I first saw it (too) many years ago.

 

[Dick]

Still (anxiously) awaiting my shipping notice. "Pending" is a boring place to be.

 

[Mark-P]

Still (anxiously) awaiting my shipping notice. "Pending" is a boring place to be.

This happens every time Screen Archives has a sale. They get swamped with orders that take weeks for their small staff to get through. I've got 2 orders pending as well, but I don't mind as I feel guilty for having overspent in the first place.

 

[Dick]

This happens every time Screen Archives has a sale. They get swamped with orders that take weeks for their small staff to get through. I've got 2 orders pending as well, but I don't mind as I feel guilty for having overspent in the first place.

If that's the case, I would think that full-price purchases of new releases would trump (pardon the expletive) discounted sales.

 

[Citizen87645]

I see what you did there.

 

[RJ992]

I'm hearing that there are less than 40 copies left. Just think...for the first time in over 60 years, this movie can be seen as the filmmakers intended...as close as possible to how audiences first saw it. And only 3000 people in the world will be able to have it! Anyone who is on the fence had better jump fairly quickly. Once it's gone, those eBay prices won't be pretty.

 

[haineshisway]

I'm hearing that there are less than 40 copies left. Just think...for the first time in over 60 years, this movie can be seen as the filmmakers intended...as close as possible to how audiences first saw it. And only 3000 people in the world will be able to have it! Anyone who is on the fence had better jump fairly quickly. Once it's gone, those eBay prices won't be pretty.

Oh, do tell us where you heard that, because it is blatantly untrue.

Oh, never mind - I see exactly where you got your "information" - from idiots playing the stupid shopping cart game and I know you can all figure out what website THAT was on. It doesn't work and it certainly doesn't reflect reality. Here's a little hint - Twilight Time will let everyone know when it's down to its last few hundred - you'll have PLENTY of warning. Meanwhile, spreading this kind of panic is really off-putting.

 

[RJ992]

Oh, do tell us where you heard that, because it is blatantly untrue.

Oh, never mind - I see exactly where you got your "information" - from idiots playing the stupid shopping cart game and I know you can all figure out what website THAT was on. It doesn't work and it certainly doesn't reflect reality. Here's a little hint - Twilight Time will let everyone know when it's down to its last few hundred - you'll have PLENTY of warning. Meanwhile, spreading this kind of panic is really off-putting.

If untrue, then accept my regrets. Last thing on my mind was to start any panic. Just didn't want anyone that might be interested to miss out. I wasn't aware that TT provided advance warnings. I seem to recall that some were perturbed in the past about a couple titles had sold out before they had a chance to order. Anyway, thanks for the clarification.

 

[JPCinema]

Watched MOBY DICK last night. It was revelation to see! Fantastic!
I hope when the Blu of REFLECTIONS IN A GOLDEN EYE is released, it will be released in the moody, gothic gold version as was Huston's intention and not the garish studio mandated color version.

 

[haineshisway]

Twilight Time always sends out plenty of advance warning, usually when they're down to about 500. They post it everywhere, but especially on their Facebook page. Believe me, if they were down to 500 copies everyone would know about it.

 

[Winston T. Boogie]

Watched MOBY DICK last night. It was revelation to see! Fantastic!
I hope when the Blu of REFLECTIONS IN A GOLDEN EYE is released, it will be released in the moody, gothic gold version as was Huston's intention and not the garish studio mandated color version.

Wow, I must have missed that Twilight is doing Reflections in a Golden Eye that is fantastic news. I believe the Euro blu has both versions so hopefully so will the Twilight.

 

[Peter Apruzzese]

They're not doing "Reflections..."

 

[Winston T. Boogie]

They're not doing "Reflections..."

Damn, that was a pretty quick trip to the land of disappointment.