#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – This classic story by Herman Melville revolves around Captain Ahab and his obsession with a huge whale, Moby Dick. The whale caused the loss of Ahab’s leg years before, leaving Ahab to stomp the boards of his ship on a peg leg. Ahab is so crazed by his desire to kill the whale, that he is prepared to sacrifice everything, including his life, the lives of his crew members, and even his ship to find and destroy his nemesis, Moby Dick.
Plot: In 1841, young Ishmael signs up for service abroad the Pequod, a whaler sailing out of New Bedford. The ship is under the command of Captain Ahab, a strict disciplinarian who exhorts his men to find Moby Dick, the great white whale. Ahab lost his his leg to that creature and is desperate for revenge. As the crew soon learns, he will stop at nothing to gain satisfaction.
Smart Tags: #revenge #based_on_novel #moby_dick_character #whale #obsession #voice_over_narration #sea_captain #sinking_boat #one_legged_man #harpoon #1800s #miniature_model #character_name_as_title #marine_life #no_female_character #captain_ahab_character #ship #whaling #albino #epic #year_1842
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There’s Majesty For You!
“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.
flavour of the period
I do understand the criticism of Gregory Peck. His character seems too young and not nearly tortured enough to do Ahab full justice.
The book obsesses about the religious significance of everything. You get a flavour of that with this film too, with superstition seamlessly blended in as well. Orson Wells awesome cameo as the preacher sets up and supports this important plot element. Important because, this is how men thought and dealt with the ongoing risk associated with seafaring. They were literally at the mercy of nature & the elements for months & years at a time.
An enduring image of the film for me is the scene where a member of the crew is seen carving patterns on Queequeg’s (already heavily decorated) body using a knife. Queequeg himself is stoic and resigned to die at this point. Ishmael though, is outraged on discovering this abuse of his friend. This is unique to the screenplay, and is a brilliant dramatic instrument.
Ahab: ‘From hell’s heart I stab at thee; for hate’s sake I spit my last breath at thee.’ This line was also borrowed by Ricardo Monteban’s Khan in ‘The Wrath of Khan’.
Melville was inspired to write his tale by the personal account of Owen Chase, the son of a survivor of the Ship Essex, sunk by a whale in the Pacific. The whale charged twice; knocking itself out the first time.
Houston’s film seems to capture a flavour of the period. It’s probably substantially inaccurate, but it’s nevertheless convincing. No other version of Moby Dick I’ve seen has been able to pull that off.
Original Language en
Runtime 1 hr 56 min (116 min), 1 hr 55 min (115 min) (TCM print)
Rated Not Rated
Genre Adventure, Drama
Director John Huston
Writer Ray Bradbury (screenplay), John Huston (screenplay)
Actors Gregory Peck, Richard Basehart, Leo Genn, James Robertson Justice
Awards 5 wins & 4 nominations.
Production Company N/A
Sound Mix Mono (RCA Sound Recording)
Aspect Ratio 1.66 : 1
Camera Mitchell BNC (uncredited)
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length (12 reels), 3,152 m (Netherlands)
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm