MOBY DICK, AHAB AND I

By ClassicBecky

From the first line -- "Call me Ishmael" -- to the last -- "I only am escaped, alone, to tell thee" -- Moby Dick haunted my imagination and my dreams. Warner Brothers' 1956 production, directed by John Huston, with screenplay by Huston and Ray Bradbury, captures the soul of Herman Melville's 1851 novel about obsession and the demigod-complex that feeds it. There are some differences between the movie and the book, but nothing that damages Melville's vision. The poetically supernatural writing of Bradbury is evident in the screenplay and only adds to the power of the story.

Gregory Peck portrays Ahab, captain of the whaler Pequod, a surprising choice to many, including Peck himself. John Huston's father, Walter, was the first choice to play Ahab, but died before the movie was made. Peck was 40 years old at the time, younger than Melville's Ahab, but the marvelous makeup and costuming transformed the handsome, debonair Peck into the unforgiving, scarred Ahab. Peck's acting reveals Ahab's scarred soul and rage against God and nature perfectly. The cast includes a very young Richard Basehart as Ishmael, a wanderer who signs onto the Pequod with his south sea island friend, Queequeg (Friedrich von Ledebur). The wonderful Leo Genn is the stalwart Starbuck, first mate, with Harry Andrews and Seamus Kelly as 2nd and 3rd mates Stubb and Flask. Most famous of the supporting cast is Orson Welles, who appears a the unrelenting New Bedford minister, Father Mapple. His cameo role preaching a thunderous sermon to the outgoing whalers is a powerful performance.

From the beginning, we see that even to his crewmen, Ahab is a god-like figure. In answer to Ishmael's question about what Ahab is like, mate Stubb says simply "Ahab's Ahab", mirroring the Bible in which God describes himself to Moses -- "I am that I am." Biblical references abound in Moby Dick. The ragged man on the wharf who speaks to Ishmael as he goes to the ship calls himself Elijah, prophecying -- "A day will come at sea when you smell land where there be no land, and on that day Ahab will go to his grave, but he will rise again and beckon, and all save one shall follow." This is one of Bradbury's contributions to the novel, in which Elijah only says something bad will happen.

Ahab's plan for this whaling voyage is not to hunt whales for their oil, but to hunt vengeance upon the white whale, Moby Dick, who took off his leg in an earlier encounter. Ahab challenges the heavens in his quest, is obsessed with revenge and will take no refusal from anyone in his cause. He wins the admiration and loyalty of the crew with his hypnotic speech and promises, convincing them with his own unrelenting leadership -- "You be the cogs that fit my wheel, the gunpowder that takes my torch." Through storms and doldum, Ahab chases Moby Dick -- "I'll follow him around the Horn and around the Norway maelstrom and around perdition's flames before I give him up."  Starbuck is Ahab's conscience, endeavoring always to turn his captain away from his impious desire for vengeance, to no avail. As Starbuck sees the men come under Ahab's spell, he is horrified -- "Where is the crew of the Pequod? I see not one man I know among 30. They are gloves, Ahab fills them, Ahab moves them.

Moby Dick is so much more than a story of whaling in the early 1800's. It is a portrait of obsession, vengeance, excitement and tragedy. I have never forgotten the beautiful language, stirring music by Philip Sainton, and incredible ending of this great movie.

So go down to the sea, stand on the ship with Ahab and experience something very special.

Elementary, My Dear Readers

221B Baker Street, London, has seen many occupants come and go since the 19th century, all of whom are named Sherlock Holmes and Dr. Watson. Sir Arthur Conan Doyle was the author of more than just stories about a detective...he was the originator of a cultural fascination that has made its way through books, movies, radio and television. Holmes and Watson have been portrayed by many actors in countries all over the world, My focus here is 5 of the most famous movie/TV characterizations. Who are your favorites?

Basil Rathbone and Nigel Bruce. What movie buff does not picture them first when Holmes and Watson come to mind? Rathbone with his marvelous profile, clipped British accent, pipe in mouth and deerstalker cap and cape ... Bruce as the mumbling, bumbling dear old Watson, faithful to Holmes, steadfastly British and easily fooled by both criminals and Holmes alike. Who could not love them? Despite the fact that almost none of the movies were actually based on Conan Doyle's stories, the movies were atmospheric with the beauty that only black and white can bring, and each one is met like an old friend, always welcome. Some of the stories were updated to the 1940's and made as obvious propaganda films for the war effort, but who cares? It's Holmes and Watson, and they will always be first in my heart.

In 1984, British television began presenting 36 episodes starring an actor who many believe to be the best Holmes, Jeremy Brett. With David Burke as Watson (later replaced with Edward Hardwick), Brett was a darker version of Holmes, more sardonic in demeanor, always with a little sneer in the flare of his nostrils, and also more outwardly enthusiastic at times. The deerstalker cap and cape were nowhere to be seen, having been earlier taken from a stage play version and not as Conan Doyle's description anyway. The episodes were taken from Conan Doyle's stories, and in that respect pleased Holmes' purists. It's difficult to admit, but this characterization was truer to Conan Doyle than the Rathbone versions, and Brett was marvelous.

In 1970, a most interesting movie was released called "The Private Life of Sherlock Holmes" starring British actors Robert Stephens and Colin Blakely. I found this odd, wonderful movie extremely fascinating with its spoof quality, dark humor and also depth of characterization. Stephens reveals the darker side of Holmes as a cocaine addict and anti-social personality, yet also makes us laugh when he bemoans the requirement that he wear the deerstalker cap and cape because Watson wrote him so in his stories. He finds it difficult to live up to the written description of himself, and berates Watson for it. This movie is also notable for the hauntingly beautiful score written by Erich Wolfgang Korngold.

Although I feel disloyal to Basil Rathbone, I feel compelled to admit that my favorite Holmes performance is that of Richard Roxburgh. In 1992, The Hound Of The Baskervilles was released, and it is a marvel of acting and storytelling, remaining quite true to Conan Doyle's original story. Roxburgh, known for unusual parts such as the nasal-voiced duke in Moulin Rouge, and as Dracula in Van Helsing, plays Holmes as a handsome, brilliant emotional man who never loses his logic and reserve. Ian Hart is an intelligent and keen Watson, a critical and caring friend who worries about Holmes' addiction. The cast is superb, and any Holmes lover would miss a real gem if they did not see this movie.

In closing, I must bring up the new version of the Holmes/Watson phenomenon to be released soon in theatres. Robert Downey, Jr. and Jude Law play Holmes and Watson in a movie touted to be an action thriller. The picture here does not show fully the outfit that I have seen Downey wearing, a slouch hat, baggy pants, and frankly in many of these pictures he looks a bit like Charlie Chaplin. I worry about this one, although I must see it. Sherlock Holmes is a cerebral personality, always dressed impeccably, every inch the British gentleman in Conan Doyle's stories, nothing like what I have seen of Downey's persona. I like Robert Downey, but I am not sure how he will do. Jude Law doesn't worry me as much. He looks the part, and he is a good actor as well. We'll just have to see, won't we? I'll try to keep an open mind, but hope that this movie will not be just another graphic novel brought to explosive thriller life.

Three cheers to Holmes and Watson!  What would movies be without them?

Brief Reflections

By ClassicBecky

I believe that many classic movie lovers fear the same thing I do, namely, political correctness.  I remember a few years ago when the United States Postal Service released an honorary stamp in tribute to the great blues artist Robert Johnson.  The most famous picture of Johnson that we have is of him looking into the camera holding his guitar and smoking a cigarette.  The Postal Service decided to digitally remove the cigarette from his mouth because of political correctness.  They changed Robert Johnson as he was to a false Robert Johnson who would fit their ideas of what is acceptable.  That is a horrifying travesty.  Anyone who has ever read George Orwell's "1984" is aware of what can happen when such thinking is taken to the limit. 

Our beloved classic films could very well be treated in the same way in the current climate.  Obviously there are things in classic films that society has evolved enough to realize are offensive, i.e. racial stereotypes, social habits that are no longer acceptable, etc.  However, this is history on film, and to change history is to crack the foundation of truth.  I fear that possibly in the near future, these movies will be cut and pasted to remove any dance numbers, comedy bits or habits that no longer fit a society of political correctness.  Removing smoking alone would be a full-time job, especially with a Bette Davis or Humphrey Bogart movie!

This is not a paranoid fantasy.  It happened to Robert Johnson's picture.  I have already seen a movie so chopped up, certainly not a classic one by any means, "Robin Hood - Men in Tights" by Mel Brooks.  Whoever edited this movie for the particular channel that showed it removed all references to gay jokes.  If you have seen that movie, you know that this resulted in its being chopped to pieces.  This may not be a stirring call to arms because of the particular movie, but it illustrates my fears.  If it could happen to one movie, it can happen to another.  Those of us who love classic film must be alert to this kind of trend and speak out if and when it finally hits the films we love.   History is history and truth is truth.  Neither should ever be changed.

Here's a Turkey for Thanksgiving -- Raised To Be Rotten

By ClassicBecky

For those who are old enough to remember Carol Burnette's movie spoofs, the above was the title for one her best. The actual movie is 1950's Born To Be Bad, and it did indeed live up to its name. Miscasting, an unbelievable storyline and melodrama to the nth degree made this movie, in my opinion, one of the great turkeys of all time. Even a cast of solid, talented actors could not save this disaster.

Casting Joan Fontaine as the scheming, vicious Christabelle was the first mistake. (Even the name Christabelle was pretty bad.) Fontaine was never meant for such a part, and she tries to act up a storm with side-glances, overdone raised eyebrows, fake smiles and body language intended to show her as a siren out for gold. It doesn't work. Zachary Scott as her rich conquest must have been a moron not to see through her embarrasingly obvious tricks to lure him away from his innocent fiancee, played by Joan Leslie. Robert Ryan as Christabelle's true lust partner is also a sap for falling in lustful love with the fake, manipulative woman as played by Fontaine. Fontaine is a beautiful woman, but she just isn't sexy. Why the studly Ryan finds her so desirable is a mystery. There is nothing subtle in her acting. Only one friend, Gobby, played by Mel Ferrer, sees through her, but says nothing. Joan Leslie also sees through her, but somehow fails to talk it over with her intended husband, for God knows what reason. I guess so the movie would go on longer.

Eventually the jig is up, and Christabelle goes on her merry way toting along all the furs and money she can get her hands on. Only friend Mel Ferrer has the sense to relieve Christabelle of the keys to the mansion. Zachary Scott and Joan Leslie patch things up too easily, and that is finally the end. The movie is only about 90 minutes long, but seems like 3 hours. To sum up, Born To Be Bad has only one redeeming value -- it inspired one of the best spoofs Carol Burnett ever made, better than the movie itself.

CLASSIC IN MORE WAYS THAN ONE

By ClassicBecky

Are you a classic film lover but don’t think you really like classical music? Think again! You have been listening to music by Peter Tchaikovsky, Sergei Rachmaninoff, Robert Schumann and Wolfgang Amadeus Mozart, right along with the great movie composers, including Bernard Hermann, Max Steiner, Erich Wolfgang Korngold and Miklos Rosza. Korngold and Rosza can really be classified as classical since both composed music for orchestra and violin apart from movie scores. It would take another article to talk about the great movie music by those and other fine composers for film. This article is about the long-hairs, the old white dudes, the classical composers and their important role in movies.

There are obvious examples of classical music in movies, i.e. the movie biographies of composers themselves. A Song of Love comes to mind, with Katharine Hepburn and Paul Henreid, the story of Schumann and his accomplished pianist wife, Clara. Made in 1947, the movie also stars Robert Walker as Johannes Brahms. The music throughout is of course by Schumann, with some Brahms thrown in, and is a delight to the ear. As Schumann’s mental health declines, his most beautiful music accentuates the sorrow. 1945’s A Song To Remember is the biography of Frederic Chopin. Although it stars Cornel Wilde as Chopin and Merle Oberon as George Sand, even Paul Muni as Chopin’s teacher, the movies is kind of a dud. But the music – oh the music – Chopin throughout and beautiful enough to make the movie seem better than it is.

Two more recent films belong in this category as well. Ken Russell’s idiosyncratic version of the life of Peter Tchaikovsky is 1971’s The Music Lovers, starring Richard Chamberlain. Anyone who thinks classical music is just for relaxing must see this film and bask in the magnificent music of Tchaikovsky. Like a well-written movie soundtrack, Tchaikovsky’s music is used to enhance the emotional content of the movie, and stresses the pathos of the sad life of this genius. In 1994, Gary Oldman starred as Ludwig von Beethoven in Immortal Beloved. The music of Beethoven marches through this movie and into our hearts. The climax with the beloved 9th symphony having been composed by the deaf genius would bring tears to the eyes of the most jaded viewer.

Then there are well-loved movies that incorporate classical music into the score, or use particular pieces almost in place of a score. One that I love is a 1945 British film, Brief Encounter, starring Trevor Howard and Celia Johnson. One of the most decent love stories about two people, each married, who deal with their feelings about one another, this movie could stand by itself. But the music of Rachmaninoff’s Second Piano Concerto weaves throughout this beautiful story and enhances it immensely.

Max Steiner scored most of Bette Davis’s best films, but he shared credit with Tchaikovsky in 1941’s The Great Lie. Mary Astor plays larger than life classical pianist Sandra Kovack, with George Brent as the man both women love. Astor plays portions of Tchaikovsky’s First Piano Concerto in the movie, and it is also showcased for the climax of the film. Then there is Humoresque, with Joan Crawford and John Garfield. Released in 1946, this melodramatic story of a woman in love with a struggling violinist is scored by the great Franz Waxman, but also by the music of Wagner, Rimsky-Korsakov and Dvorak. What better than lush classical romantic era music to showcase a melodrama?

The final film I like for this category is more recent, 1980’s Somewhere in Time with Christopher Reeve and Jane Seymour. A love story of two people who live in different times, this movie is famous for its glorious score by John Barry. But it is even more famous for the love scenes which are lushly enhanced by Rachmaninoff’s Rhapsody on a Theme by Paganini. An unwieldy name for a gorgeous piece of music, the movie’s romance would have been just another love story without it.


There are so many examples of classical music in movies, and too little time and room. I have offered a few for your consideration. Maybe you know others you would like to bring to our attention, and that would be wonderful. All input is welcome from all movie lovers

Welcome To My Cyberworld!

ClassicBecky here.  Welcome to all lovers of literature and music.  As you can no doubt see, Sherlock Holmes movies and literature are a special favorite of mine.  Basil Rathbone and Nigel Bruce are closest to my heart as the consummate characterization of Arthur Conan Doyle's famous detective Sherlock Homes and friend Dr. Watson. There have been other wonderful portrayals of Holmes, notably Jeremy Brett in British television, as well as a wonderful recent version of The Hound of the Baskervilles with Richard Roxburgh. 


I hope that you will enjoy my reviews and articles about books and music.