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And what of the other insults—the editing, the artificial panning, the cuts made to accommodate the commercial sale of dog food and roach spray? Only in America are films so degraded. In other countries, the artist is often protected by the government. No one can change a French film director's film without his consent. They have too much respect for people who contribute to the society by doing creative work to allow anyone to subvert their creations at random.

My personal belief is, of course, that no one should ever be able to tamper with any artist's work in any medium against the artist's will and this principle can be argued justly by any citizen. It does not need a directly involved artist.

The colorizers may think they have a legal loophole, but the morality of what they are doing is atrocious. For directors with enough clout to make self-protecting contracts, this is no problem. But for those less fortunate and, of course, the deceased ones, protection must be guaranteed.

If a producer insists on color and if a helpless director is forced to film it the studio's way, despite his own feelings that it should be black and white, well, a deal's a deal.

But once a film exists in black and white and has been thrilling audiences for years, then to suddenly color it seems too great an insult, even for a society that is so often more in awe of its business executives than its creative talents.

Ultimately, of course, the colorizers will lose this battle. If it's not immediately, then future generations will for sure discard these cheesy, artificial symbols of one society's greed. They will, of course, go back to the great originals. And if we are foolish enough to permit this monstrous practice to continue, one can easily picture young men and women someday discussing us with disgust and saying, “They did this and nobody stopped them?”

"Well, there was a lot of money involved.'

“But surely the people could see the deeper value to America of its film treasury, of its image among civilizations. Surely they understand the immorality of defacing an artist's work against his will. Don't tell me it was the kind of nation that adored profit at any cost and humiliation.”

Here I finish, because it is too early to know how it turns out. But I hope dearly that I will not be part of a culture that is one day ridiculed and reviled as a laughing stock. [The prepared statement of Mr.

Allen follows:]

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LET US JUST SAY THAT A VERY RICH MAN HAS PURCHASED ALL THE

FILMS EVER MADE IN HOLLYWOOD.

HE CALLS TOGETHER HIS STAFF

AND SAYS, "TAKE ALL THE BLACK AND WHITE ONES AND TURN THEM

INTO COLOR USING OUR NEW COMPUTER."

THE TECHNICIANS GET

RIGHT TO WORK IMPLEMENTING THIS BECAUSE THEY ARE USED TO

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AND THE BOSS SAYS, "BECAUSE MORE PEOPLE WILL WATCH

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DIRECTORS GUILD OF AMERICA, 7950 SUNSET BLVD., LOS ANGELES, CA 90046

NATIONAL OFFICE TELEX NUMBER 181498

113

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BLACK AND WHITE. HE POINTS TO "IT'S A WONDERFUL LIFE" VIEWED

BY MILLIONS EVERY CHRISTMAS

EVERY CHRISTMAS ON TELEVISION.

HE POINTS TO

"YANKEE DOODLE DANDY" AND "SERGEANT YORK" AND "CITIZEN KANE"

AND "THE MALTESE FALCON" AND "ON THE WATERFRONT".

"THEY'RE GREAT FILMS",

FILMS", THE BOSS SAYS.

"BUT I'M

GOING TO IMPROVE THEM.

THEY'LL BE GREATER WHEN I'M

FINISHED WITH THEM."

"BUT THE DIRECTOR OF 'CITIZEN KANE' IS DEAD.

WHO'LL TELL YOU WHAT COLORS IT SHOULD BE?"

"WE HAVE MEN TO DO THAT.

IT'S TRUE

OO

THEY'VE

NEVER DIRECTED FILMS AND KNOW NOTHING ABOUT IT, BUT

THEY SURE CAN WORK COMPUTERS AND BETWEEN YOU AND ME

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"OH, THAT'S IN THE FUTURE", THE BOSS SAYS.

"FIRST

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PAGE THREE

NOW, YOU MIGHT GET THE IMPRESSION FROM ALL THIS THAT I AM

AGAINST COLORIZATION OF BLACK AND WHITE FILMS, BUT BELIEVE IT

OR NOT YOU'D BE WRONG.

IF A MOVIE DIRECTOR WISHES HIS FILM

TO BE COLORIZED, THEN I SAY BY ALL MEANS, LET HIM COLOR IT.

IF HE PREFERS IT TO REMAIN IN BLACK AND WHITE THEN IT IS

SINFUL TO FORCE HIM TO CHANGE IT.

IF THE DIRECTOR IS NOT

ALIVE AND HIS WORK HAS BEEN HISTORICALLY ESTABLISHED IN BLACK

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PRESUMPTION THAT THE COLORIZERS ARE DOING HIM A FAVOR AND

BETTERING HIS MOVIE IS A TRANSPARENT ATTEMPT TO JUSTIFY THE

MUTILATION OF ART FOR A FEW EXTRA DOLLARS.

THE COLORIZERS WILL TELL YOU THAT IT'S PROVEN NO ONE WANTS

BLACK AND WHITE BUT THIS IS NOT TRUE AND IF IT WERE

IF

AUDIENCES WHO HAVE GROWN UP ON MINDLESS TELEVISION WERE SO

DESENSITIZED THAT A MOVIE LIKE "IT HAPPENED ONE NIGHT" WHICH

HAS BEEN DELIGHTING PEOPLE IN BLACK AND WHITE FOR GENERATIONS

NOW HAD TO BE VIEWED IN COLOR TO BE APPRECIATED THEN THE TASK

WOULD BE TO CULTIVATE THE AUDIENCE BACK TO SOME LEVEL OF

MATURITY RATHER THAN TO DOCTOR THE FILM ARTIFICIALLY TO KEEP

UP WITH LOWERED TASTES.

NOT ONLY DO THE COLORIZERS HAVE

CONTEMPT FOR THE AMERICAN PUBLIC BUT ALSO FOR THE ARTIST.

A

LARGE NUMBER OF AMERICAN MOVIES ARE CLASSICS BOTH AT HOME AND

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PAGE FOUR
PAGE

MOTION PICTURES THAT ARE CONSIDERED GENUINE WORKS OF

ART

COMPARABLE TO FINE LITERATURE, PAINTING AND MUSIC.

BUT THE

COLORIZERS HAVE NO REGARD FOR THE MEN WHO MADE THESE MOVIES

AND WHEN A GREAT AMERICAN DIRECTOR LIKE JOHN HUSTON SAYS HE

DOESN'T WANT HIS SUPERB MYSTERY "THE MALTESE FALCON" MADE

INTO A COLOR MOVIE BECAUSE THAT MAKES THIS HARD BOILED BOGART

FILM SILLY LOOKING:

THEY COULDN'T CARE LESS WHAT HUSTON

WANTS.

THE COLORIZERS ALSO TELL US THAT A VIEWER CAN SIMPLY

TURN OFF THE COLOR AND SEE THE FILM IN BLACK AND WHITE.

THE

FACT THAT THE MAN WHO MADE THE FILM WANTS NO ONE AT ALL TO

SEE IT IN COLOR MEANS NOTHING TO THEM.

FINALLY, THEY SAY WE

LIVE IN A DEMOCRACY AND THE PUBLIC WANTS THESE FILMS IN COLOR

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ALTERATIONS TO SUIT THEIR TASTE THE WORLD WOULD HAVE NO REAL

ART.

NOTHING WOULD BE SAFE.

PICASSO WOULD HAVE BEEN CHANGED

YEARS AGO AND JAMES JOYCE AND STRAVINSKY AND THE LIST GOES

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HAVE CHOSEN ON A NUMBER OF OCCASIONS, EVEN FOUGHT FOR THE

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