{"id":3582,"date":"2013-10-25T00:00:06","date_gmt":"2013-10-25T04:00:06","guid":{"rendered":"http:\/\/smugfilm.com\/?p=3582"},"modified":"2013-11-08T02:00:16","modified_gmt":"2013-11-08T07:00:16","slug":"on-colorization","status":"publish","type":"post","link":"https:\/\/smugfilm.com\/oldsite\/on-colorization\/","title":{"rendered":"On Colorization"},"content":{"rendered":"

\"she\"
\nShe<\/a> (Orig. 1935, Colorized Version 2008)<\/em><\/p>\n

Colorization is one of those things that people call \u201ccontroversial\u201d, and like most glib descriptors, it\u2019s a kind of shoddy definition. There\u2019s no controversy over colorizing things. People hate it. Everybody<\/i> hates it.<\/p>\n

The people who care about movies hate it because it paints over esteemed favorites, dolloping them in eerie flesh tones and smeared, lifeless color like a little girl trying out one of those toy makeup kits. Meanwhile, they fail to catch any new blood because those who hate black and white movies don\u2019t just hate black and white movies because they\u2019re in black and white, and a bit of clown makeup will never bridge that psychological distance.
\n
\nTake a look at the advertising techniques of Legend Films, about the only company still colorizing films. In the course of a half-decade or so they\u2019ve gone from \u201cNOW IN COLOR FOR THE FIRST TIME!\u201d to \u201cNOW IN COLOR WITH DIGITALLY RESTORED BLACK AND WHITE!\u201d to \u201cDIGITALLY RESTORED BLACK AND WHITE WITH RIFFTRAX COMMENTARY AND ALTERNATE COLOR VERSION!\u201d I hear they\u2019re branching out into 3D instead. There\u2019s just no market space for colorization.<\/p>\n

About the only person I know who actually likes colorized films is my mother, and even in that case it\u2019s only one film: Casablanca<\/a>. Her favorite. She\u2019s watched Casablanca <\/i>at least once a year since she was a little girl, and about once every five years or so she drags out her beat up ripped-from-VHS copy of the Ted Turner colorization. It\u2019s a tawdry little spectacle. It has the same effect as those new TVs with that MotionFlow feature\u2014it seems to violate the very idea of the movie, dragging it out of its world and making us acutely aware of the sets and the banal humanity of it all. \u00a0Smeared and garish, you lose any sense of Rick\u2019s Caf\u00e9 as an elegant and magical place\u2014instead, it\u2019s an ugly brown bar in the middle of the desert. Chatting about it with Cody the other day, he nailed the feel: \u201cIt\u2019s like watching \u201890s TV.\u201d<\/p>\n

One day I asked my mother why she watches this garbage when she could sit back with the proper original again. \u201cYou don\u2019t understand,\u201d she told me. \u201cShe wears blue<\/a>.\u201d<\/p>\n

I mulled over it. I watched it in color with her, then again in black and white (she always seems to go back to that one right after the color version). I started to see it. She wasn\u2019t watching <\/i>Casablanca in color. She was watching a tribute to <\/i>Casablanca. She was watching the Great Movie Ride version of her favorite movie, which she\u2019s seen over and over backwards and forwards for twice my lifetime, long enough that every now and again you need to find a way to unbalance yourself in order to approach it fresh. Maybe that\u2019s the beauty of artificial color. It lets us look at things fresh. The Thing from Another World<\/a>, a personal favorite of mine, takes on a whole different tone in color. The threat is diminished\u2014how could it not be?\u2014and the crackly science dialogue takes on more of the pulp opera feel of Forbidden Planet<\/a>. Just check out that toxic green radar<\/a>! \u00a0It\u2019s not The Thing <\/i>as I know it, but it\u2019s a hell of a strange new alternate version of it, sort of a re-contextualized Lichtenstein version.<\/p>\n

Siskel and Ebert called colorization \u201cHollywood\u2019s New Vandalism\u201d, and they were right. It\u2019s straight-up graffiti art. Rather than bastardized versions of the black and white originals, colorized films can be viewed as a whole different artwork literally painted over the original. We can view the process as what, maybe, it always should\u2019ve been considered: a medium for quirky pop-art recreations of iconic cinema, along the lines of Joseph Cornell\u2019s Rose Hobart<\/a> <\/i>or DJ Spooky\u2019s Rebirth of a Nation<\/a>.<\/p>\n

King Kong<\/a> <\/i>is a hell of a thing in color. One of Ted Turner\u2019s first attempts at the process (it was colorized in 1988, Turner started dipping his toes in color in \u201986), it\u2019s a total mess. Skull Island is melted into a morass of sickly greens and implausible peaches. Turner paid for color, and goddamn if he doesn\u2019t wring every neon he can out of that film. It doesn\u2019t look like real life and it doesn\u2019t look like the inky fairy tale it used to. Instead, it\u2019s a shifting kaleidoscope of eye-popping color, like something Stan Brakhage would make, or at the very least like projections on the stage behind a prog band.<\/p>\n

http:\/\/www.youtube.com\/watch?v=Jz77RxYhtoQ<\/p>\n

The great stop-motion pioneer Ray Harryhausen teamed up with Legend Films a few years back to colorize some of his monster movies. According to him, they were only shot in black and white for budgetary reasons, so there\u2019s no reason not to jazz \u2018em up a bit. These films are… fine. Legend Films has a lighter approach than Ted Turner\u2014they tend to favor soft pastels in an attempt to emulate the look of \u201850s color film stock. In fact, their subtlest stuff may as well still be black and white. It has the vividness of Sovcolor<\/a>.
\n<\/a><\/p>\n

Something like 20 Million Miles to Earth<\/a> <\/i>probably could\u2019ve used Ted Turner\u2019s operatic mania. The hell with it, give us neons and eye-burning greens. Push the color to the limit.<\/p>\n

While they were working together, Harryhausen and Legend teamed up to colorize She<\/a>, a kind of tedious 1935 adventure movie. This was a big tribute to its creator Merian C. Cooper, the man who created King Kong. I\u2019ve never liked She. It has ambition, but no weight to its images. There\u2019s great framing, and towering sets, but it just doesn\u2019t add up somehow.<\/p>\n

Then I tried the colorized version.<\/p>\n

Vivid reds washed over me. Distant fires brushed the screen in moody orange. Gold, always discussed, was omnipresent. It glittered on doors, clothes, masks. The mysterious Art Deco meets Ancient Egypt society of She was simply drowning on color. And of course they were. But you simply had no idea in black and white. No idea.<\/p>\n

For the first time I saw a colorized print as something other than kitsch, as an essential and irreducible element of seeing the film in its full grandeur. I almost hate to say it since I\u2019ve used the opposite line so often: \u201cNight of the Living Dead<\/a> in color is pointless, the film was made for black and white.\u201d \u201cCasablanca looks ridiculous in color, it was made for black and white.\u201d True in both cases. But She<\/i>? She <\/i>was made for color. It just never got to be seen that way until now. Watch and judge for yourself<\/a>.<\/p>\n

I fully expect to be fought tooth and nail about this, but I simply can\u2019t imagine ever going back to seeing She <\/i>in black and white again. I honestly don\u2019t know how to feel about this.<\/p>\n","protected":false},"excerpt":{"rendered":"

\"she\"
\nShe<\/a> (Orig. 1935, Colorized Version 2008)<\/em><\/p>\n

Colorization is one of those things that people call \u201ccontroversial\u201d, and like most glib descriptors, it\u2019s a kind of shoddy definition. There\u2019s no controversy over colorizing things. People hate it. Everybody<\/i> hates it.<\/p>\n

The people who care about movies hate it because it paints over esteemed favorites, dolloping them in eerie flesh tones and smeared, lifeless color like a little girl trying out one of those toy makeup kits. Meanwhile, they fail to catch any new blood because those who hate black and white movies don\u2019t just hate black and white movies because they\u2019re in black and white, and a bit of clown makeup will never bridge that psychological distance.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,726],"tags":[3138,750,3127,3126,3123,3130,1457,95,3131,660,3135,3124,852,3125,1137,71,3129,3133,3120,3122,3119,3118,3121,3132,104,185,3137,3136,3134,1071,3128],"class_list":["post-3582","post","type-post","status-publish","format-standard","hentry","category-allposts","category-johns-essays","tag-20-million-miles-to-earth","tag-casablanca","tag-casablanca-colorized","tag-casablanca-colorized-version","tag-colorization","tag-dj-spooky","tag-forbidden-planet","tag-john-damico","tag-jseoph-cornell","tag-king-kong","tag-king-kong-colorization","tag-legend-films","tag-merian-c-cooper","tag-motionflow","tag-night-of-the-living-dead","tag-ray-harryhausen","tag-rebirth-of-a-nation","tag-rose-hobart","tag-she","tag-she-1935","tag-she-1935-colorized","tag-she-colorized","tag-she-movie","tag-siskel-and-ebert","tag-smug-film-2","tag-smugfilm","tag-sovcolor","tag-stan-brakhage","tag-ted-turner","tag-the-thing","tag-the-thing-from-another-world"],"_links":{"self":[{"href":"https:\/\/smugfilm.com\/oldsite\/wp-json\/wp\/v2\/posts\/3582","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/smugfilm.com\/oldsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/smugfilm.com\/oldsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/smugfilm.com\/oldsite\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/smugfilm.com\/oldsite\/wp-json\/wp\/v2\/comments?post=3582"}],"version-history":[{"count":8,"href":"https:\/\/smugfilm.com\/oldsite\/wp-json\/wp\/v2\/posts\/3582\/revisions"}],"predecessor-version":[{"id":3592,"href":"https:\/\/smugfilm.com\/oldsite\/wp-json\/wp\/v2\/posts\/3582\/revisions\/3592"}],"wp:attachment":[{"href":"https:\/\/smugfilm.com\/oldsite\/wp-json\/wp\/v2\/media?parent=3582"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/smugfilm.com\/oldsite\/wp-json\/wp\/v2\/categories?post=3582"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/smugfilm.com\/oldsite\/wp-json\/wp\/v2\/tags?post=3582"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}