Moby Dick

As the novel opens, 'Call me Ishmael' are the first words of the sole survivor of a lost whaling ship as he relates the tale of his captain's self-destructive obsession to hunt the white whale, Moby Dick. They are words that have become often quoted by many authors and poets and for any number of reasons, yet they open the mysteries and beauties of one of the greatest American novels every written. There have been many cinematic productions of MOBY DICK, Herman Melville's 1851 supreme novel - 1956 with Gregory Peck as Ahab and 1998 with Patrick Stewart in the Ahab role - and each has its strong and weak points. There are many detractors of this current version who rightfully state that too few of Ahab's great speeches and lines have been omitted and that this version is too influenced by contemporary reasoning. But the tale is a great one and the splendid extended reveries and 'speeches' of Captain Ahab rest beautifully on the written page, a factor that allows mulling over the words and the meaning and the drama that may just fall a bit heavy when incorporated into a screenplay. Better the flavor of the story be conveyed by what cinema allows - imagery - that books can't mimic. This current version does just that - it finds the core of the obsession of a man driven by a struggle with his past, with nature, and with the personal vendetta against the great white whale, Moby Dick, who claimed Ahab's leg in the past. Nigel Williams is responsible for the screenplay, Mike Barker directs.

Ishmael (Charlie Cox) sees his dream of a whaling voyage come true when he and his Hapoonist friend Queequeeg (Raoul Trujillo) join the crew of the Pequod, a sailing vessel leaving port in Nantucket. What Ishmael and the mates don't initially appreciate is that the Pequod's monomaniacal Captain Ahab (William Hurt) is taking them all on a mad and personal mission to slay the great whale Moby Dick, an obsession that will open their eyes to the wonder and spectacle of man, of beast, and the inescapable nature of both. The flavor of the crew is well captured by a solid cast, including Ethan Hawke as a rather weak Starbuck, Eddie Marsan as Stubb, Billy Boyd as Elijah, Billy Merasty as Tashtego, Onyekachi Ejim as Dagoo, Matthew as Flask, James Gilbert as Steelkit, Gary Levert as Perth, and Daniyah Ysrayl as the cabin boy Pip. The special effects offer vivid and credible underwater activity of Moby Dick and the clashes with nature both within the crew and on the ocean are very well represented. The final underwater scene with Ahab strapped dead to the still alive and swimming Moby Dick is unforgettably realistic and a fine balance with the ever-innocent Ishmael grasping the empty coffin as the sole survivor of the voyage.

William Hurt gives us a different Ahab in Nigel Williams' script adaptation - less mad but more obsessed, less cruel and more vulnerable than we are used to seeing - but he is strong and takes us with him as he meets his end in his struggle with Nature. It is a moving adventure and despite the omissions that seem to bother most viewers, the movie does cast a spell over the entire 3 hours.

Grady Harp

It seems that each filmed version of Moby-Dick is compelled to be worse than the one before and that each embodier of the partially disembodied Ahab must make his predecessor seem better, not just in the distance of time but also in distanced performance. Who will underperform William Hurt I hope never to see. Each scriptwriter also must feel a need to demonstrate the superiority of Melville's original, both in his concept and execution. The most recent version appears somewhat like a Second City take on Moby-Dick Meets The Outsiders: all the tortured Jugendangst! Ethan Hawke does do a good C. Thomas Howell sendup, but Hawke should rather be doing a good performance of a first mate, one who is one step below the ship's master. Even the Pequod gets nonverisimilitude. A square-rigged whaler gets turned into a bark. If people cared enough to write, finance, film, and present what is generally regarded as a if not the preeminent work of American fiction, why was care and cash not more carefully scripted and directed? Even the cgi attempt at the whale of whales had the look of an audition submission for an early ScyFy project.

I'm going to go out on a limb and say Moby Dick doesn't lend itself to film and TV adaptations. The tale is dramatic, it's action-packed, it's visual and it's exciting, but there's an awful lot in the original text that you have to leave out in order to film it coherently. Melville's book is encyclopedic. It tells you a lot about whales and whaling; the motivations of the whalers, the camaraderie on board, the mechanics of capturingand dissecting the largest animal in the ocean and extracting theuseful stuff that keeps America burning. This adaptation (and probably ANY adaptation) cuts to the chase, omitting these complex descriptions of whaling life in favour of characters and action, the meat and potatoes of Hollywood filmmaking. In doing so, it loses something of the quality of the story. It also loses the narrator: on TV, Ishmael, a witty and endearing narrator, becomes a one-dimensional protagonist, totally overshadowed by Ahab.

This is Ahab's film. William Hurt dominates every scene he appears in, and he appears in most of them. I'm convinced he's pulling out all the stops, aiming for an Emmy. I'm not sure how else to explain the hammy overacting, the grizzly beard, the cheesy dialogue delivered in a carefully cultivated "old salt" accent (ie. "aargh!" "aye!"). Hurt thinks he's playing Hamlet, and he wants Ahab's descent into madness to be central to the story.

Ahab is typically dark, cursed, scarred, traumatised, intimidating and vengeful. Hurt's Ahab is just plain crazy. He jokes around with his men, delivers many of his most serious lines while grinning through his beard and squinting his eyes. On board the Pequod, he's like everybody's affectionate but slightly volatile Grandpa, not averse to a hug or a bit of laugh over a stein of grog. He says too much, and much of it is hard to understand, delivered in a sing-song cadence with emphasis in unusual places. Oscillating between booming vocal projection of Shakespearean proportions and just plain talking to himself, and introspective mumbling in which he appears to be talking to himself, Hurt seems to be performing for his own benefit rather than for an audience. This is an attempt to indicate Ahab's madness in a way nobody else has done before, but it alienates the audience as well as his fellow actors, and it's just not good acting. He's a piratey caricature whose attempts at pathos are unpersuasive. I prefer Gregory Peck's intense, brooding Ahab. A good Ahab should indicate more than he actually says, a dark exterior concealing untold depths of turmoil and mystery - like the sea! Argh!

Ethan Hawke is a solid Starbuck, and a very human foil to Hurt's gruff, squinty captain. He's emotional, penetrative, and seriously worried about the fate of the ship. More than anyone else he embodies the atmosphere of impending doom that plagues the voyage, and his sense of mortality is a visibly heavy burden. When Starbuck says that what he wants most from the journey is "to see Nantucket again", you believe him. He's a homesick sailor. At that point, everything's beginning to go awry and we'd all like to see the Pequod turn around and go home. Starbuck's finest hour comes at the very end - I won't give anything away, but it's profoundly moving. Hawke's performance salvaged something of an otherwise perfunctory adaptation.

Moby himself is, of course, CGI. In short, like so many massive movie monsters, he doesn't look real. It's not bad CGI, but it's difficult to convey the sublime weightiness of such a vast, living creature with special effects. Moreover, Moby is no ordinary animal - he's an icon, with a personality and a sense of mischief. At it's heart, the story of a whale cheating a whaler is almost comic, with the feel of a fable. I wonder if an animation might capture the spirit of the character (Moby is a character!) more than live action film with CGI. For the most part, they do a pretty decent job of Moby, except for a totally unnecessary scene at the very end which is embarrassingly rudimentary and looks like a scene from a video game.

In summary, as a production it could be worse, but it didn't add anything to my experience of the story. I couldn't help feeling some of the actors involved (Donald Sutherland, Gillian Anderson, William Hurt) were simply trying to add another period piece to their CV's. They fulfilled the brief, but their performances were not memorable. Honourable mentions go to Eddie Marsan, who was an excellent Stubbs, and Billy Boyd who makes an impressive cameo as deranged prophet Elijah. There were some saving graces, but I'm yet to see an adaptation of Moby Dick that captures the spirit of the book. As nautical tales go, Peter Weir's Master and Commander gives a more vivid impression of life at sea.

This canonical story with the feel of a great myth is told and retold, so perhaps there is yet hope for a cinematic adaptation that does the book justice. No doubt someone will take another stab at Moby Dick in the not-too-distant future; pun absolutely intended.

Call me Murf, no scratch that, call me Ishmael ! This version of Money Dick, and save your penis jokes for later, is quite good! I'd remembered at Newman we pulled apart all the characters and analyzed them to death! Ishmael in the bible, meant every man was for him, and every man was against him. Sounds like you and me! I think the reason most people enjoyed this awesome book was they could relate to all the characters plight and sorrows and hopes! You'll be pleased to know Ethan Hawke does a spectacular job at acting as the main protagonist ! Have fun with this three part movie, and as always, read the tome too! Pax, Murf

Fine television rendition in two episodes about Herman Neville's novel with enjoyable interpretations from all-star-cast. In this extremely loose adaptation of Melville's classic novel, Ahab is revealed initially not as a bitter and revengeful madman . This oceanic 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 newcomer named Ishmael (Charlie Cox) who signs aboard the whaling ship Pequod and befriends a Polynesian native, harpooner Queequeg (Raoul Trujillo). He meets Elijah (Billy Boyd) , Stubb (Eddie Marsan) , Starbuck (Ethan Hawke) and 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 merciless vengeance . Soon enough Ishmael aware about the great white whale who claimed the captain's leg and Ahab's determination to seek vendetta on the beast that crippled and scarred him , no matter what the cost to himself , his crew or ship .

Yet another take on Melville's classic about a relentless battle of wills . The picture is a fine television adaptation of the famous novel well scripted/adapted and ably realized . Moby Dick is an attractive tale of life on the high seas, and in particular on board a whale schooner named 'Pequod' . This impressive adaptation based on Herman Melville's 1851 classic novel is vividly brought to screen . The interactions between Ahab, Michigan & Stubb is reminiscent of captain Vere, Billy Budd & Master-at-arms John Claggart, the main characters of 'Billy Budd', another novel written by Moby-Dick's author, Herman Melville , and it results to be one of the most thrilling and moving see sagas ever written . Suspense and tension through 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 . Nigel Williams wrote a screenplay that was partially faith to the novel and filmmaker Mike Binder stamping this movie with epic images and thought-provoking dialogs . Enjoyable recounting , including quite a few moments that click make this top-of-the-range movie more than watchable . The FX experts created a great whale made by means of ordinary computer generator . Top-notch main and secondary cast realize extraordinary performances . William Hurt is nice, as well as Ethan Hawke and Charlie Cox . Phenomenal support cast such as: Eddie Marsan as Stubb , Gillian Anderson as Elizabeth , Billy Boyd as Elijah , Raoul Trujillo as Queequeg and Stephen McHattie as Rachel Captain . Cameraman Richard Greatrex's appropriate color cinematography splendidly conveys the bleaker qualities of the chase . Emotive and thrilling musical score by composer Richard Mitchell. The motion picture was professionally directed by Mike Binder , though with no originality . He's a nice director working usually for television as ¨Moby Dick¨, ¨Sea wolf¨ ,¨Lorna Doone¨ and occasionally for cinema as ¨A good woman¨, ¨To kill a king¨ and ¨Butterfly on a wheel¨ his best movie.

Other renditions about this famous novel is as follows: 1930 rendition by Lloyd Bacon with John Barrymore, this is the first production of "Moby Dick" to have a leading female character , Joan Blondell . Moby Dick (1959) by John Huston , an over-the-top adaptation of Herman Melville's high seas saga with a sensational Gregory Peck as unforgettable captain Ahab . 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 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 .