Moby Dick

For those folks that want great literature without having to read a 500-page tome, then this Readers Digest like condensation might be the ticket. All the high points of Moby Dick are touched on starting with 'Call me Ishmael," and so on.

As all have already pointed out, Gregory Peck has nailed the Ahab character. You got me how he managed the whalebone peg leg. The obsessive rush to take vengeance on the great whale boils in crazed Ahab's head and certainly his crew one by one catch the fever for either greed or blind allegiance. Therefore, our allegorical story full of biblical references mete out large portions of philosophical sophisms, enough for the entire Humanities Departments at fifty Universities to burn the midnight whale oil; oh, the reams of paper written about poor Moby, we're talking deforestation here.

If ever there was a story to get young men to read Lit, Moby Dick is the one.

"We are all killers, on land and on sea," wrote Herman Melville more than 100 years ago. But the artistic failure of a recent television adaptation of his greatest work shows that some are killers, too, on screen. Movie makers. Butchers. Their guts are now gorged with Moby Dick.

"Majestic" raved "TV Guide" about USA Network's production of Melville's book. Reading that review I had a fantasy where Captain Ahab, with his sublime limp, walks into the magazine's office, shoves director John Huston's 1956 film of Moby Dick into the VCR, points to the screen and defiantly exclaims:

"There's majesty for you . . . "

. . . in the faces of men. Huston's film benefits from its intelligent casting of the seamen. The actors in the recent production are just pretty-boy imports from Los Angeles, rabble-rousers lacking the dignity that is gained from a lifetime of duty. But that dignity is plainly visible on the rugged faces of the men in the earlier film. One rarely sees that anymore.

. . . in the faces of women, too. The images of the women suffering as they watch their men go off to sea are utterly devastating, they hold so much emotional depth, so much beauty. The attention to detail in Huston's film is striking: the hairs on the chins of the old women, the tired, thick-skinned expressions of the wives and widows, the heavy shawls covering their heads.

. . . in the performances. Over 40 years ago when Orson Welles gave his performance as Father Mapple (a role which only a person with a special kind of magnificence could successfully take on), Gregory Peck might have been busily preparing for his role as Captain Ahab in the same film. What a testament to Peck's stature as one of our leading actors that throughout his career he could play not only Captain Ahab but also, in the recent production, Father Mapple.

. . . in the color. Huston's film is in Technicolor, a technique which produced colors not even seen in nature. The sky is now blue now red now green. The water is brown, pink, gray. Colors blend. Colors clash. By comparison, how banal the colors of our post-Technicolor world!

. . . in the mouth. The seamen have the exquisite mouths of pipe-smokers. The upper lip tight and stiff after so many hours pulled down in the puff.

. . . in the eyes. My favorite scene is where Peck as Captain Ahab famously proclaims: "Speak not to me of blasphemy. I'd strike the sun if it insulted me." The lighting, the acting, everything here is superb. The camera is focused tightly on Peck's face. The stark appearance of his eyes -- the tense, black irises all surrounded by gleaming white -- seems to reveal the subtext of the story. His eyes electrify!

John Huston's film says more in its two hours than USA Network's says in four; it suggests a lot and explains little, whereas the latter tries to explain a lot but says nothing. A great film, it doesn't butcher Melville's Moby Dick but adds to its power.

This oceans saga features the sole survivor of a lost whaling ship who relates the tale of a white whale and the captain Ahab's obsession with desires for vendetta upon the greatest animal . It starts in New Bedford , Massachussets, where arrives a novice named Ishmael (Richard Basehart) who signs aboard the whaling ship Pequod and befriends a Polynesian native , harpooner Queequeg (Friedrich Ledebur) . He meets captain Ahab (Gregory Peck) who has a self-destructive obsession to hunt the white whale , Moby Dick . Ahab consecrates his life to hunt it full of hating and vengeance . Soon enough Ishmael aware about the great white whale who claimed the captain's leg and Ahab's determination to seek avenge on the beast that crippled and scarred him , no matter what the cost to himself , his crew or ship .

This impressive adaptation based on Herman Melville's 1851 classic novel is vividly brought to screen . Suspense and tension of the ocean is completely captured , including enduring images as the storm with the 'fire of Saint Telmo' . Climatic final battle is an overwhelming piece of cinema as you are likely to watch . Huston, along with prestigious Sci-Fi author Ray Bradbury wrote a screenplay that was faithful to the novel , stamping this movie with epic images and thought-provoking dialogs . In his memories , Huston wrote that it was his most difficult and enduring film . Huston decided to do the opening sequences at a small village called Youghal located on Irland coast and the maritime scenes were filmed in Islas Canarias , Spain . The FX experts created a great whale made with gum and plastic and moved by means of remote control . Huston bought to Walt Disney the ship used in 'Treasure Island' (by Byron Haskin) and was modified as Herman Melville described the Pequod . Top-notch main cast who realizes extraordinary performances . Peck is fabulous , though Huston had wanted to make the movie 20 years earlier and star his daddy Walter Huston . Phenomenal support cast as Bernard Miles as Manxman , James Robertson Justice as captain Boomer , Harry Andrews as Stubbs , and Leo Genn who steals the show as officer Starbuck . Cameraman Oswald Morris's breathtaking color cinematography splendidly conveys the bleaker qualities of the chase . Exciting and rousing musical score by Philip Stainton and well conducted by the usual Louis Levy . Rating : Above average , quite a few moments that click make this top-of-the-range movie more than watchable . It results to be one of the most thrilling and moving see sagas ever realized .

It's remade in 1998 TV series by Franc Roddan with Patrick Stewart ,Henry Thomas , Bill Hunter and Gregory Peck who takes on the character of Jonah-and-the-whale sermonizing Father Mapple who in this classic adaptation was vividly played by Orson Welles . Furthermore recent lousy rendition full of computer generator FX starred by Barry Bostwick and Renee O'Connor .

Some critics panned this pic when it came out - Peck too wooden, the script too cliched, etc, etc. Don't believe a word of it. I saw this one when I was 8 or 9, and for years I watched it every time it came on TV - even in B&W! Peck isn't wooden, he's intense and fascinating (my favorite scene: in his cabin, saying to Starbuck, "That bed is a coffin"). The language may sound stilted, but it's MELVILLE'S, and the cast sink into it with conviction.

Some critic (I don't know which) has said that Moby Dick (the book) is an "uncomfortable masterpiece" - or something like that - meaning that it's a hard pill to swallow. The movie is bound to be a hard pill for many viewers as well. But that's their loss. Huston's movie is a great big powerful thing - you believe in Peck's crazy passion, in Starbuck's gentleness, in Ishmael and Quequeg's bond, in the evil of the whale, even.

Another favorite sequence: the Pequot becalmed, the crew lying about under the intense sun, slowly going crazy. The climactic chase is superb and thrilling, of course; what it all adds up to is a film about the elements, and our relationship to them. The whale is just the biggest of a whole slew that constantly threaten to destroy us. Nature, our natures - all the things we fight against with our intelligence, that threaten to engulf us.

Beautiful film, one of Huston's best. I find the analogy with Hitler/Nazis in an earlier comment very interesting. Another would be with an earlier Huston film, The Treasure of the Sierra Madre - another film about people taking terrible chances for reasons that don't stand up to a lot of examination, whose biggest obstacle turns out to be themselves. By the way, will someone please rerelease Moby Dick in a restored version so we can get a really good look at all that glorious Technicolor?

This version of the Melville classic should, without question, be regarded as the penultimate screen adaptation of a masterwork of American fiction. Everything - absolutely everything - about this film works, from John Huston's brilliant direction, to the screenplay ( co-written by Ray Bradbury ), to the powerful and believable performances. Gregory Peck IS Ahab; if anyone defined and crystallized so megalomaniacal a character, it was Peck, hands down. Not that this should be interpreted as a slight to any of the supporting cast; it isn't. The casting is so good, in fact, that now we find it difficult, if not impossible, to view the supporting cast members in any other light, especially Frederich Ledebur: his choice by the producers as Queequeg was nothing if not dead on the money, as was the small but significant part of Elizah, as portrayed by Royal Dano. Granted, some liberties were taken with the book ( so what else is new? ), such as the squid being written out completely, but this was, and continues to be, necessary in order to make a movie that doesn't take five hours to play out. Yes, okay, it's a "Cliff's Notes" "Moby Dick", but if what you're after is good direction, outstanding ( one could say tour de force ) acting, and a tight screenplay, then this is the movie for you. Believe us, this is the one, NOT the remake with Patrick Stewart. Stewart's Ahab is basically Patrick Stewart playing Patrick Stewart playing Ahab or, to put it another way, Huston's "Moby Dick" needs to be remade about as badly as the rest of us need leukemia. 'Nuff said.