Old Man Who Read Love Stories Book Test
| The Old Man and the Sea | |
|---|---|
 Theatrical release poster | |
| Directed by | John Sturges |
| Screenplay by | Peter Viertel |
| Based on | The Old Man and the Sea by Ernest Hemingway |
| Produced by | Leland Hayward |
| Starring | Spencer Tracy |
| Cinematography |
|
| Edited by | Arthur P. Schmidt |
| Music by | Dimitri Tiomkin |
| Distributed past | Warner Bros. |
| Release dates |
|
| Running time | 87 minutes[2] [3] |
| State | United States |
| Language | English |
| Budget | $five 1000000[4] |
The Old Man and the Sea is a 1958 American adventure drama picture show directed past John Sturges and starring Spencer Tracy. The screenplay by Peter Viertel was based on the 1952 novel of the same proper name by Ernest Hemingway.
Dimitri Tiomkin won the University Award for Best Original Score for his piece of work on the film. The film was also nominated for Best Color Cinematography (Howe) and Best Thespian (Tracy).
Plot [edit]
The Old Man in the motion-picture show is a Cuban fisherman who has gone 84 days without a catch. His only friend is a 14-year-one-time boy named Jabby, who has been barred by his father from accompanying the Old Homo out to sea. On the Old Human'south 85th day out, he finally hooks a huge marlin, which he then tries to bring in and haul in from far out from shore. For three days and nights he battles the fish, which is portrayed in the film (as information technology had been in Hemingway'south novella) as a trial of mental and physical courage that becomes the ultimate test for him of his worth as a man.
Cast [edit]
- Spencer Tracy as The Erstwhile Human being
- Felipe Pazos Jr. as Manolin[a]
- Harry Bellaver every bit Martin
- Don Diamond as Café proprietor
- Don Blackman as Arm wrestler
- Joey Ray as a gambler
- Richard Alameda as a gambler
- Tony Rosa as a gambler
- Carlos Rivero as a gambler
- Robert Alderette equally a gambler
- Don Alvarado (uncredited) every bit a waiter
Production [edit]
The managing director originally assigned to the pic was Fred Zinnemann, but he withdrew, and was replaced past John Sturges.[4] [5] The picture show'southward budget, originally $2 million, grew to $five 1000000 "in search of suitable fish footage."[4] Sturges chosen it "technically the sloppiest motion-picture show I have ever made."[4]
According to Turner Classic Movies, a Feb 2005 CNN article points out that The Old Man and the Bounding main was one of the first films to "use a bluescreen compositing technology invented by Arthur Widmer, that combined actors on a soundstage with a pre-filmed background."[six]
The credits notation that "Some of the marlin moving-picture show used in this motion-picture show was of the world's record catch by Alfred C. Glassell Jr. at the Cabo Blanco Angling Club in Republic of peru. Mr. Glassell acted as special counselor for these sequences."[6] [7]
Music [edit]
Veteran film composer Dimitri Tiomkin composed and conducted the music for the film. His soundtrack recording, with the Warner Brothers Studio Orchestra, was recorded in the auditorium of Hollywood Mail No. 43, American Legion, in Hollywood; Billboard reported that the acoustics in the Hollywood Legion were "far superior to nigh studio space in Hollywood and like to that of the all-time concert halls."[8] During the week of April 21, 1958, Columbia held open sessions for The Onetime Man and the Sea at the Legion Hall. The soundtrack was after released in both stereo and mono by Columbia Records.
Reception [edit]
Bosley Crowther of The New York Times wrote:[three]
Credit Leland Hayward for trying something off the beaten track in making a motion-picture version of Ernest Hemingway'south The Sometime Man and the Sea, and credit Spencer Tracy for a dauntless performance in its one big role. Too credit Dimitri Tiomkin for providing a musical score that virtually puts Mr. Tracy in the position of a soloist with a symphony. And that just most completes a run-down of the praiseworthy aspects of this picture.
Amid the film's shortcomings, Crowther notes, is that "an essential feeling of the sweep and surge of the open sea is not achieved in precise and placid pictures that patently were shot in a studio tank. There are, to be sure, some lovely long shots of Cuban villages and the colorful coast...Only the main drama, that of the ordeal, is played in a studio tank, and even some fine shots of a marlin breaking the surface and shaking in violent boxing are deflated by obvious showing on the process screen."[three]
The film has been described as the "nearly literal, word-for-give-and-take rendition of a written story always filmed".[half-dozen] Time noted that "the script follows the book in about every detail", but called the novel a fable "no more than suitable for the screen than The Dearest Song of J. Alfred Prufrock".[4] Time pointed out that Tracy was "never permitted to catch a marlin" while on location, and then the "photographic camera could never catch him at it" and the result is "Sturges must cantankerous-cut and then interminably—fish, Tracy, fish, Tracy—that Old Man loses the lifelikeness, the excitement, and above all the generosity of rhythm that the theme requires.[four]
Co-ordinate to producer Hayward, Hemingway was pleased with the film, and said information technology had "a wonderful emotional quality and [he] is very grateful and pleased with the transference of his cloth to the screen. He thought Tracy was swell (in light of his quarrels with him this is quite a compliment) ... the photography was fantabulous ... the handling of the angling and mechanical fish very good. Had some minor dislikes ... but all in all he was terribly high on the picture and pleased with information technology."[nine] Hemingway was notorious for his dislike for most of the pic adaptations of his stories, and in 1959, he implicitly disagreed with Hayward's assessment, stating that the only Hollywood adaptation of one of his stories that he liked was The Killers.[10]
Run across also [edit]
- List of American films of 1958
Notes [edit]
- ^ Felipe Pazos Jr., who played the role of the boy in the motion picture, is the son of the Cuban economist and revolutionary, Felipe Pazos.[ citation needed ]
References [edit]
- ^ "Full Credits for The Old Man and the Body of water (1958)". Turner Classic Movies. Retrieved January 17, 2010.
- ^ "THE OLD Homo AND THE SEA (U)". British Board of Film Classification. March 27, 1958. Retrieved January 25, 2016.
- ^ a b c Crowther, Bosley (October eight, 1958). "Former Man and the Bounding main Stars Spencer Tracy". The New York Times . Retrieved January 17, 2010.
- ^ a b c d eastward f "Cinema: Two with Tracy". Time. Oct 27, 1958. Archived from the original on February 4, 2013. Retrieved January 17, 2010.
- ^ "AFI|Catalog".
- ^ a b c "Notes for The One-time Man and the Sea (1958)". Turner Classic Movies. Retrieved Jan 17, 2010.
- ^ Adele Conover (April 2000). "The Biggest One That Didn't Become Away". Smithsonian. Retrieved January 17, 2010.
- ^ Inc, Nielsen Concern Media (April 28, 1958). Billboard. Nielsen Business concern Media, Inc.
- ^ Curtis, James (2011). Spencer Tracy: A Biography. London: Hutchinson. pp. 744-745. The notes for this page attribute the quotation as follows: "Leland Hayward as reported to Jack L. Warner by Steve Trilling, 3/10/58, Jack Warner Drove, University of Southern California."
- ^ Jones, J. R. "How one Hemingway short story became iii different movies". Chicago Reader . Retrieved Oct 29, 2019.
External links [edit]
- The Old Human being and the Sea at IMDb
- The One-time Homo and the Sea at Rotten Tomatoes
- The Old Human and the Body of water at the American Pic Constitute Itemize
- The Old Man and the Sea at the TCM Movie Database
Source: https://en.wikipedia.org/wiki/The_Old_Man_and_the_Sea_(1958_film)
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