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The Sea Serpent
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The Sea Serpent
The Sea Serpent (title).jpg
Title page of 1st illustrated French edition

Author
Jules Verne
Original title
Les Histoires de Jean-Marie Cabidoulin
Translator
I. O. Evans
Illustrator
Georges Roux
Country
France
Language
French
Series
The Extraordinary Voyages No. 49
Genre
Adventure novel
Publisher
Pierre-Jules Hetzel

Publication date
 1901

Published in English
 1967
Media type
Print (hardback)
ISBN
N/A
Preceded by
The Village in the Treetops
Followed by
The Kip Brothers
The Sea Serpent: The Yarns of Jean Marie Cabidoulin (French: Les Histoires de Jean-Marie Cabidoulin, lit. The Stories of Jean-Marie Cabidoulin) is an adventure novel by Jules Verne first published in 1901.
Publication history[edit]
1967, UK, London, Arco, 191 pp., 60 illus., First English translation

External links[edit]
 Wikimedia Commons has media related to The Sea Serpent.
Les Histoires de Jean-Marie Cabidoulin available at Jules Verne Collection (French)


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The Sea Serpent
From Wikipedia, the free encyclopedia
Jump to: navigation, search

The Sea Serpent
The Sea Serpent (title).jpg
Title page of 1st illustrated French edition

Author
Jules Verne
Original title
Les Histoires de Jean-Marie Cabidoulin
Translator
I. O. Evans
Illustrator
Georges Roux
Country
France
Language
French
Series
The Extraordinary Voyages No. 49
Genre
Adventure novel
Publisher
Pierre-Jules Hetzel

Publication date
 1901

Published in English
 1967
Media type
Print (hardback)
ISBN
N/A
Preceded by
The Village in the Treetops
Followed by
The Kip Brothers
The Sea Serpent: The Yarns of Jean Marie Cabidoulin (French: Les Histoires de Jean-Marie Cabidoulin, lit. The Stories of Jean-Marie Cabidoulin) is an adventure novel by Jules Verne first published in 1901.
Publication history[edit]
1967, UK, London, Arco, 191 pp., 60 illus., First English translation

External links[edit]
 Wikimedia Commons has media related to The Sea Serpent.
Les Histoires de Jean-Marie Cabidoulin available at Jules Verne Collection (French)


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Works by Jules Verne




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 Wikipedia book Book:Jules Verne ·
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Invasion of the Sea
From Wikipedia, the free encyclopedia
Jump to: navigation, search

Invasion of the Sea
'Invasion of the Sea' by Léon Benett 01.jpg
Author
Jules Verne
Original title
L'Invasion de la mer
Translator
Edward Baxter
Illustrator
Léon Benett
Country
France
Language
French
Series
The Extraordinary Voyages No. 54
Genre
Adventure novel
Publisher
Pierre-Jules Hetzel

Publication date
 1905

Published in English
 2001
Media type
Print (hardback)
ISBN
N/A
Preceded by
Master of the World
Invasion of the Sea (French: L'Invasion de la mer) is an adventure novel written by Jules Verne. It was published in 1905, the last to be published in the author's lifetime, and describes the exploits of Berber nomads and European travelers in Saharan Africa.[1] The European characters arrive to study the feasibility of flooding a low-lying region of the Sahara desert to create an inland sea and open up the interior of Northern Africa to trade. In the end, however, the protagonists' pride in humanity's potential to control and reshape the world is humbled by a cataclysmic earthquake which results in the natural formation of just such a sea.[2]


Contents  [hide]
1 Plot summary
2 Historical background
3 Translation history
4 Contemporary reviews and criticism
5 Publication history
6 See also
7 References

Plot summary[edit]
Invasion of the Sea takes place in a future 1930s and follows the story of European engineers and their military escort who seek to revive an actual 19th century proposal to flood the Sahara Desert with waters from the Mediterranean sea to create an inland "Sahara Sea" for both commercial and military purposes.[3] The French military escort, led by Captain Hardigan, meet with conflict from Tuareg Berber tribes who fear the new sea will threaten their nomadic way of life. The Berber tribes, led by the warlord Hadjar, begin an insurgency campaign against the Europeans in an effort to derail their plans for the inland sea. Captain Hardigan attempts to retaliate against the Berbers and bring Hadjar to justice. Ultimately, however, a disastrous earthquake strikes. This earthquake floods the Sahara to an extent beyond even limits which were proposed by the Europeans.[1][4]
Historical background[edit]
The novel Invasion of the Sea, as well the plans of the characters in the novel, are inspired by the real life exploits of Captain François Élie Roudaire. Roudaire was a French military officer and geographer who surveyed parts of Tunisia in the late 1800s. He discovered that large areas of the Sahara Desert were below sea level and proposed that a canal be dug from the Mediterranean Sea to these Saharan basins, which would allow for the creation of an inland "Sahara Sea".[5] Others had made similar proposals at the same time,[5] and canal building generally was a popular geopolitical endeavor of the first decade of the 1900s, when Invasion of the Sea was written.[3][4]
Some have noted that the inclusion of the Berber raiders (who are opposed to the efforts of the European engineers and military officers) is a foreshadowing of the growth of Islamic terrorism in the 1900s and 2000s.[1][4][6][7]
Translation history[edit]
Parts of the novel, under the title Captain Hardizan, were serialized in The American Weekly (the Sunday Supplement to the Boston newspaper) on August 6 and August 13, 1905 by Oswald Mathew. The first complete English translation was published by Wesleyan University Press in 2001 by Edward Baxter. It was slated to be the first in a series of early science fiction reprints from Wesleyan University Press. It contained many illustrations from the original French edition.[4]
The history of Invasion of the Sea was unusual in this regard. For years before the Baxter translation, Invasion of the Sea was one of four late Voyages Extraordinaires novels left unpublished in their whole form (the others being The Mighty Orinoco, The Kip Brothers, and Traveling Scholarships). Early translators of Verne for British and American readers in the late 1800s and early 1900s were notorious for making major changes to Verne's novels in the translation and editing process. Translators would, for example, change names and even character motivations at times. Other changes were aimed at removing the anti-imperialist themes which Verne was known to espouse in his work,[4] while others still were made by Verne's son.[1] No contemporary translation was as notorious for its revisionism as the Captain Hardizan edition of Invasion of the Sea, however. Mathew's translation changes were so dramatic that they changed the focus to a young European woman captured by an Arab raiding party. The Arabs themselves were described as being led by a different woman of supernatural abilities.[4]
Contemporary reviews and criticism[edit]
Reviews have differed in their opinions between different editions of Invasion of the Sea and its various English translations. While early English translations have been criticized for their unfaithfulness to the original French text, particularly in removing the anti-colonialist themes for British and American audiences,[4] modern translations have been praised for their much greater faithfulness to the source.[1][3][4]
The 2001 translation by Edward Baxter was viewed in a mostly positive light, and most criticisms were directed towards problems with the original work by Jules Verne. Publishers Weekly criticized the character development (with the exception of that of an affable dog named Ace-of-Hearts), while also describing the plot as both "disjointed" and "predictable", saying that the book is overwhelmed with a "deluge of scientific facts".[3] Brian Taves of the North American Jules Verne Society praised the use of multiple perspectives in the narrative (both French and North African) and the novel's political sophistication. He criticized the novel, however, for a general lack of excitement.[4] On the other hand, Harper's Magazine described the book as a "ripping good yarn".[8] A common theme in reviews was the novel's seeming prescience about the growing importance of Islamic terrorism.[4][6][7]
Publication history[edit]
Invasion of the Sea, Trans. Edward Baxter, Ed. Arthur Evans. Middletown, Connecticut: Wesleyan University Press, c2001. ISBN 0-8195-6545-8
See also[edit]

Portal icon Novels portal
 Wikimedia Commons has media related to Invasion of the Sea.
Qattara Depression Project
Chott Melrhir
References[edit]
1.^ Jump up to: a b c d e "Invasion of the Sea". Kirkus Reviews. December 1, 2001. Retrieved December 16, 2012.
2.Jump up ^ Kytasaari, Dennis. "Plot Synopsis of Invasion of the Sea". North American Jules Verne Society. Retrieved December 16, 2012.
3.^ Jump up to: a b c d "Plot Synopsis of Invasion of the Sea". Publishers Weekly. Retrieved December 16, 2012.
4.^ Jump up to: a b c d e f g h i j Taves, Brian. "Review of Invasion of the Sea". North American Jules Verne Society. Retrieved December 16, 2012.
5.^ Jump up to: a b Spinage, Clive Alfred (2012). African Ecology: Benchmarks and Historical Perspectives. Springer Geography (Illustrated ed.). New York: Springer. ISBN 3642228712. Retrieved December 16, 2012.
6.^ Jump up to: a b Adams, Susan (April 15, 2002). "Eerily Prescient". Forbes. Retrieved December 9, 2012.
7.^ Jump up to: a b Sterling, Bruce. "Wesleyan University Press list of endorsements". Wesleyan University Press. Retrieved December 16, 2012.
8.Jump up ^ Harper's Magazine. "Wesleyan University Press list of reviews". Wesleyan University Press. Retrieved December 16, 2012.


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Bibliography ·
 Wikipedia book Book:Jules Verne ·
 Category Category:Jules Verne ·
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Categories: 1905 novels
Novels by Jules Verne
Novels set in Africa
Novels first published in serial form
Works originally published in The American Weekly








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Invasion of the Sea
From Wikipedia, the free encyclopedia
Jump to: navigation, search

Invasion of the Sea
'Invasion of the Sea' by Léon Benett 01.jpg
Author
Jules Verne
Original title
L'Invasion de la mer
Translator
Edward Baxter
Illustrator
Léon Benett
Country
France
Language
French
Series
The Extraordinary Voyages No. 54
Genre
Adventure novel
Publisher
Pierre-Jules Hetzel

Publication date
 1905

Published in English
 2001
Media type
Print (hardback)
ISBN
N/A
Preceded by
Master of the World
Invasion of the Sea (French: L'Invasion de la mer) is an adventure novel written by Jules Verne. It was published in 1905, the last to be published in the author's lifetime, and describes the exploits of Berber nomads and European travelers in Saharan Africa.[1] The European characters arrive to study the feasibility of flooding a low-lying region of the Sahara desert to create an inland sea and open up the interior of Northern Africa to trade. In the end, however, the protagonists' pride in humanity's potential to control and reshape the world is humbled by a cataclysmic earthquake which results in the natural formation of just such a sea.[2]


Contents  [hide]
1 Plot summary
2 Historical background
3 Translation history
4 Contemporary reviews and criticism
5 Publication history
6 See also
7 References

Plot summary[edit]
Invasion of the Sea takes place in a future 1930s and follows the story of European engineers and their military escort who seek to revive an actual 19th century proposal to flood the Sahara Desert with waters from the Mediterranean sea to create an inland "Sahara Sea" for both commercial and military purposes.[3] The French military escort, led by Captain Hardigan, meet with conflict from Tuareg Berber tribes who fear the new sea will threaten their nomadic way of life. The Berber tribes, led by the warlord Hadjar, begin an insurgency campaign against the Europeans in an effort to derail their plans for the inland sea. Captain Hardigan attempts to retaliate against the Berbers and bring Hadjar to justice. Ultimately, however, a disastrous earthquake strikes. This earthquake floods the Sahara to an extent beyond even limits which were proposed by the Europeans.[1][4]
Historical background[edit]
The novel Invasion of the Sea, as well the plans of the characters in the novel, are inspired by the real life exploits of Captain François Élie Roudaire. Roudaire was a French military officer and geographer who surveyed parts of Tunisia in the late 1800s. He discovered that large areas of the Sahara Desert were below sea level and proposed that a canal be dug from the Mediterranean Sea to these Saharan basins, which would allow for the creation of an inland "Sahara Sea".[5] Others had made similar proposals at the same time,[5] and canal building generally was a popular geopolitical endeavor of the first decade of the 1900s, when Invasion of the Sea was written.[3][4]
Some have noted that the inclusion of the Berber raiders (who are opposed to the efforts of the European engineers and military officers) is a foreshadowing of the growth of Islamic terrorism in the 1900s and 2000s.[1][4][6][7]
Translation history[edit]
Parts of the novel, under the title Captain Hardizan, were serialized in The American Weekly (the Sunday Supplement to the Boston newspaper) on August 6 and August 13, 1905 by Oswald Mathew. The first complete English translation was published by Wesleyan University Press in 2001 by Edward Baxter. It was slated to be the first in a series of early science fiction reprints from Wesleyan University Press. It contained many illustrations from the original French edition.[4]
The history of Invasion of the Sea was unusual in this regard. For years before the Baxter translation, Invasion of the Sea was one of four late Voyages Extraordinaires novels left unpublished in their whole form (the others being The Mighty Orinoco, The Kip Brothers, and Traveling Scholarships). Early translators of Verne for British and American readers in the late 1800s and early 1900s were notorious for making major changes to Verne's novels in the translation and editing process. Translators would, for example, change names and even character motivations at times. Other changes were aimed at removing the anti-imperialist themes which Verne was known to espouse in his work,[4] while others still were made by Verne's son.[1] No contemporary translation was as notorious for its revisionism as the Captain Hardizan edition of Invasion of the Sea, however. Mathew's translation changes were so dramatic that they changed the focus to a young European woman captured by an Arab raiding party. The Arabs themselves were described as being led by a different woman of supernatural abilities.[4]
Contemporary reviews and criticism[edit]
Reviews have differed in their opinions between different editions of Invasion of the Sea and its various English translations. While early English translations have been criticized for their unfaithfulness to the original French text, particularly in removing the anti-colonialist themes for British and American audiences,[4] modern translations have been praised for their much greater faithfulness to the source.[1][3][4]
The 2001 translation by Edward Baxter was viewed in a mostly positive light, and most criticisms were directed towards problems with the original work by Jules Verne. Publishers Weekly criticized the character development (with the exception of that of an affable dog named Ace-of-Hearts), while also describing the plot as both "disjointed" and "predictable", saying that the book is overwhelmed with a "deluge of scientific facts".[3] Brian Taves of the North American Jules Verne Society praised the use of multiple perspectives in the narrative (both French and North African) and the novel's political sophistication. He criticized the novel, however, for a general lack of excitement.[4] On the other hand, Harper's Magazine described the book as a "ripping good yarn".[8] A common theme in reviews was the novel's seeming prescience about the growing importance of Islamic terrorism.[4][6][7]
Publication history[edit]
Invasion of the Sea, Trans. Edward Baxter, Ed. Arthur Evans. Middletown, Connecticut: Wesleyan University Press, c2001. ISBN 0-8195-6545-8
See also[edit]

Portal icon Novels portal
 Wikimedia Commons has media related to Invasion of the Sea.
Qattara Depression Project
Chott Melrhir
References[edit]
1.^ Jump up to: a b c d e "Invasion of the Sea". Kirkus Reviews. December 1, 2001. Retrieved December 16, 2012.
2.Jump up ^ Kytasaari, Dennis. "Plot Synopsis of Invasion of the Sea". North American Jules Verne Society. Retrieved December 16, 2012.
3.^ Jump up to: a b c d "Plot Synopsis of Invasion of the Sea". Publishers Weekly. Retrieved December 16, 2012.
4.^ Jump up to: a b c d e f g h i j Taves, Brian. "Review of Invasion of the Sea". North American Jules Verne Society. Retrieved December 16, 2012.
5.^ Jump up to: a b Spinage, Clive Alfred (2012). African Ecology: Benchmarks and Historical Perspectives. Springer Geography (Illustrated ed.). New York: Springer. ISBN 3642228712. Retrieved December 16, 2012.
6.^ Jump up to: a b Adams, Susan (April 15, 2002). "Eerily Prescient". Forbes. Retrieved December 9, 2012.
7.^ Jump up to: a b Sterling, Bruce. "Wesleyan University Press list of endorsements". Wesleyan University Press. Retrieved December 16, 2012.
8.Jump up ^ Harper's Magazine. "Wesleyan University Press list of reviews". Wesleyan University Press. Retrieved December 16, 2012.


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Bibliography ·
 Wikipedia book Book:Jules Verne ·
 Category Category:Jules Verne ·
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Categories: 1905 novels
Novels by Jules Verne
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Novels first published in serial form
Works originally published in The American Weekly








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This page was last modified on 8 October 2014, at 05:46.
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The Call of the Wretched Sea
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Call of the Wretched Sea

Studio album by Ahab

Released
October 10, 2006
Genre
Funeral doom metal
Length
67:38
Label
Napalm Records
Deviant Records
Producer
Stephan Adolph
Ahab chronology

The Oath
 (2005) The Call of the Wretched Sea
 (2006) The Divinity of Oceans
 (2009)

The Call of the Wretched Sea is the debut album by the German funeral doom band Ahab. It was released in 2006.


Contents  [hide]
1 History
2 Music 2.1 Critical reception
3 Track listing
4 Personnel
5 References

History[edit]
The Call of the Wretched Sea is Ahab's first studio album. It was the band's first recording since their first two demos. To record the album, they recruited Corny Althammer[1] as session drummer.[2] Production, engineering, mastering and mixing tasks were carried out by Stephan Adolph.[3]
It was released on October 10, 2006 through Napalm Records.[4] Double-LP versions of this album were released through Deviant Records; there were 100 copies in green vinyl, 100 copies in red vinyl, and 300 copies in black vinyl.[citation needed]
Music[edit]
The album has been treated as an example of what funeral doom metal represents.[1][4] It features slow synthesizer melodies, downtuned guitars, echoing percussion and deep and guttural vocals. Chants and choral vocal parts are also arranged at various points during the album. The track "Old Thunder" features an orchestrated central portion as well as clean-droned baritones substituting the guttural vocals in some sections. "The Sermon" has a central passage of near-silent melodic ripples that temporarily interrupt the album's guitar passages.
The Call of the Wretched Sea is a concept album which attempts to reinterpret Herman Melville's Moby-Dick. Some of its lyrics have been adapted directly from Melville's writings.[4] The album tries to represent the feelings of foreboding as told through the story of the book's main character, the despotic Captain Ahab.[1]
Critical reception[edit]

Professional ratings

Review scores

Source
Rating
Allmusic 4/5 stars[5]
blabbermouth.net 8/10 stars[6]
The album was given a 4 of 5 by Allmusic[4] and an 8 of 10 by blabbermouth.net.[1] It has been considered a fine example of the style,[4] but not appealing enough to people who don't appreciate doom metal, specifically funeral doom. Corny Althammer's drumming was specially praised.[1]
Track listing[edit]
Music by Ahab. Lyrics written by Herman Melville except "The Pacific," by Daniel Droste and Melville; "Old Thunder," by Christian Hector and "The Hunt," by Christian Hoffarth.[7]

No.
Title
Length

1. "Below the Sun"   11:45
2. "The Pacific"   10:07
3. "Old Thunder"   9:54
4. "Of the Monstrous Pictures of Whales"   1:52
5. "The Sermon"   12:36
6. "The Hunt"   11:13
7. "Ahab's Oath"   10:11
Personnel[edit]
##Daniel Droste – vocals, Electric guitar
##Christian Hector – guitar, layout design
##Stephan Adolph – Bass guitar, guitar, vocals, production, Audio engineering, Audio mastering, mixing
##Cornelius Althammer – Drum kit
##Caroline Traitler – photography
References[edit]
1.^ Jump up to: a b c d e Alisoglu, Scott. "Ahab - The Call of the Wretched Sea". blabbermouth.net. Retrieved 2008-10-28.
2.Jump up ^ Rivadavia, Eduardo. "Ahab". Allmusic. Retrieved 2008-10-28.
3.Jump up ^ "Credits for The Call of the Wretched Sea". Allmusic. Retrieved 2008-10-29.
4.^ Jump up to: a b c d e Rivadavia, Eduardo. "Ahab - The Call of the Wretched Sea". Allmusic. Retrieved 2008-10-29.
5.Jump up ^ Rivadavia, Eduardo. The Call of the Wretched Sea review allmusic.com. Retrieved on 2010-12-13.
6.Jump up ^ Alisoglu, Scott. The Call of the Wretched Sea review blabbermouth.net. Retrieved on 2010-12-13.
7.Jump up ^ Interview with Chris R. Hector: June 30, 2008


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Categories: 2006 debut albums
Ahab (band) albums
Concept albums
Napalm Records albums






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This page was last modified on 11 May 2014, at 15:02.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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The Call of the Wretched Sea
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Call of the Wretched Sea

Studio album by Ahab

Released
October 10, 2006
Genre
Funeral doom metal
Length
67:38
Label
Napalm Records
Deviant Records
Producer
Stephan Adolph
Ahab chronology

The Oath
 (2005) The Call of the Wretched Sea
 (2006) The Divinity of Oceans
 (2009)

The Call of the Wretched Sea is the debut album by the German funeral doom band Ahab. It was released in 2006.


Contents  [hide]
1 History
2 Music 2.1 Critical reception
3 Track listing
4 Personnel
5 References

History[edit]
The Call of the Wretched Sea is Ahab's first studio album. It was the band's first recording since their first two demos. To record the album, they recruited Corny Althammer[1] as session drummer.[2] Production, engineering, mastering and mixing tasks were carried out by Stephan Adolph.[3]
It was released on October 10, 2006 through Napalm Records.[4] Double-LP versions of this album were released through Deviant Records; there were 100 copies in green vinyl, 100 copies in red vinyl, and 300 copies in black vinyl.[citation needed]
Music[edit]
The album has been treated as an example of what funeral doom metal represents.[1][4] It features slow synthesizer melodies, downtuned guitars, echoing percussion and deep and guttural vocals. Chants and choral vocal parts are also arranged at various points during the album. The track "Old Thunder" features an orchestrated central portion as well as clean-droned baritones substituting the guttural vocals in some sections. "The Sermon" has a central passage of near-silent melodic ripples that temporarily interrupt the album's guitar passages.
The Call of the Wretched Sea is a concept album which attempts to reinterpret Herman Melville's Moby-Dick. Some of its lyrics have been adapted directly from Melville's writings.[4] The album tries to represent the feelings of foreboding as told through the story of the book's main character, the despotic Captain Ahab.[1]
Critical reception[edit]

Professional ratings

Review scores

Source
Rating
Allmusic 4/5 stars[5]
blabbermouth.net 8/10 stars[6]
The album was given a 4 of 5 by Allmusic[4] and an 8 of 10 by blabbermouth.net.[1] It has been considered a fine example of the style,[4] but not appealing enough to people who don't appreciate doom metal, specifically funeral doom. Corny Althammer's drumming was specially praised.[1]
Track listing[edit]
Music by Ahab. Lyrics written by Herman Melville except "The Pacific," by Daniel Droste and Melville; "Old Thunder," by Christian Hector and "The Hunt," by Christian Hoffarth.[7]

No.
Title
Length

1. "Below the Sun"   11:45
2. "The Pacific"   10:07
3. "Old Thunder"   9:54
4. "Of the Monstrous Pictures of Whales"   1:52
5. "The Sermon"   12:36
6. "The Hunt"   11:13
7. "Ahab's Oath"   10:11
Personnel[edit]
##Daniel Droste – vocals, Electric guitar
##Christian Hector – guitar, layout design
##Stephan Adolph – Bass guitar, guitar, vocals, production, Audio engineering, Audio mastering, mixing
##Cornelius Althammer – Drum kit
##Caroline Traitler – photography
References[edit]
1.^ Jump up to: a b c d e Alisoglu, Scott. "Ahab - The Call of the Wretched Sea". blabbermouth.net. Retrieved 2008-10-28.
2.Jump up ^ Rivadavia, Eduardo. "Ahab". Allmusic. Retrieved 2008-10-28.
3.Jump up ^ "Credits for The Call of the Wretched Sea". Allmusic. Retrieved 2008-10-29.
4.^ Jump up to: a b c d e Rivadavia, Eduardo. "Ahab - The Call of the Wretched Sea". Allmusic. Retrieved 2008-10-29.
5.Jump up ^ Rivadavia, Eduardo. The Call of the Wretched Sea review allmusic.com. Retrieved on 2010-12-13.
6.Jump up ^ Alisoglu, Scott. The Call of the Wretched Sea review blabbermouth.net. Retrieved on 2010-12-13.
7.Jump up ^ Interview with Chris R. Hector: June 30, 2008


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Ahab
























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Railsea
From Wikipedia, the free encyclopedia
Jump to: navigation, search

Railsea
Cover of the first U.S. hardcover edition of Railsea
Cover of the first U.S. hardcover edition of Railsea

Author
China Miéville
Country
United Kingdom
Language
English
Genre
Young-adult fiction, weird fiction
Publisher
Del Rey Books

Publication date
 15 May 2012
Pages
448
ISBN
978-0345524522
Railsea is a young-adult novel written and illustrated by English writer China Miéville, and published in May 2012. Miéville described the novel as "weird fiction",[1] and io9 labeled its mix of fantasy and steampunk elements as "salvagepunk".[2]


Contents  [hide]
1 Plot
2 Reception
3 References
4 External links

Plot[edit]
Railsea is set on a dystopic, dying world whose oceans, the "railsea", are deserts colonized by ravenous speed-tunneling giant naked mole-rats, and crossed by endless railroad tracks of unclear origin. Its plot is an "affectionate parody" of Herman Melville's classic novel Moby-Dick,[2] but also draws on Robert Louis Stevenson's adventure novels Treasure Island and Kidnapped.[3] The novel follows the adventures of three young orphans, Sham and the Shroake siblings, who join train-captain Abacat Naphi's hunt for her nemesis Mocker-Jack, a giant burrowing "moldywarpe" mole. They eventually set out on a journey to the end of the railsea, and the end of the world.
Reception[edit]
Railsea was generally well received by critics. USA Today '​s reviewer appreciated Miéville's mix of "emotional drama, Godzilla-esque monster carnage" and high adventure that would satisfy teenagers as well as Miéville's adult fans.[4] Stephen Burt remarked on Miéville's inventive language and world-building, and noted that the author's far-left politics are reflected in the slowly emerging history of Railsea '​s derelict world, which amounts to a "funny, far-reaching indictment of modern capitalism".[3]
Several reviewers highlighted the metafictional nature of the novel. Writing for io9, Chris Hsiang noted that it abounds with "impish literary games", and praised its avoidance of either "dystopian romance tropes" or political sermonizing in favor of a challenging, weird but still approachable language and structure.[2] Others were more critical of Railsea '​s metafictional approach. Jason Heller of the A.V. Club wrote that while Miéville's swift and absorbing (if dense) prose and lean plot yielded a "brainy and thrilling" result, it would have been improved "if only he’d stopped less to comment on his own cleverness along the way".[5]
References[edit]
1.Jump up ^ Heller, Billy (12 May 2012). "Required reading". New York Post. Retrieved 17 May 2012.
2.^ Jump up to: a b c Hsiang, Chris (10 May 2012). "Ride China Miéville’s Crazy Train in Railsea". io9. Retrieved 17 May 2012.
3.^ Jump up to: a b Burt, Stephen (10 May 2012). "China Mieville's 'Railsea': 'Moby-Dick' Remixed". NPR. Retrieved 17 May 2012.
4.Jump up ^ Truitt, Brian (16 May 2012). "China Mieville works ‘Moby-Dick’ on the railroad". USA Today. Retrieved 17 May 2012.
5.Jump up ^ Heller, Jason (14 May 2012). "Railsea". The A.V. Club. Retrieved 17 May 2012.
External links[edit]
Railsea title listing at the Internet Speculative Fiction Database


[hide]
v ·
 t ·
 e
 
Works by China Miéville


Bas-Lag novels
Perdido Street Station (2000) ·
 The Scar (2002) ·
 Iron Council (2004)
 

Other fiction
King Rat (1998) ·
 The Tain (novella, 2002) ·
 Looking for Jake (collection, 2005) ·
 Un Lun Dun (2007) ·
 The City & the City (2009) ·
 Kraken (2010) ·
 Embassytown (2011) ·
 Railsea (2012) ·
 Three Moments of an Explosion: Stories (collection, 2015)
 

Related articles
Armada ·
 Bas-Lag ·
 New Crobuzon ·
 Remade
 

  


Categories: 2012 novels
Novels by China Miéville
British adventure novels
British post-apocalyptic novels
British children's novels
British steampunk novels
Dystopian novels
Del Rey books




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Railsea
From Wikipedia, the free encyclopedia
Jump to: navigation, search

Railsea
Cover of the first U.S. hardcover edition of Railsea
Cover of the first U.S. hardcover edition of Railsea

Author
China Miéville
Country
United Kingdom
Language
English
Genre
Young-adult fiction, weird fiction
Publisher
Del Rey Books

Publication date
 15 May 2012
Pages
448
ISBN
978-0345524522
Railsea is a young-adult novel written and illustrated by English writer China Miéville, and published in May 2012. Miéville described the novel as "weird fiction",[1] and io9 labeled its mix of fantasy and steampunk elements as "salvagepunk".[2]


Contents  [hide]
1 Plot
2 Reception
3 References
4 External links

Plot[edit]
Railsea is set on a dystopic, dying world whose oceans, the "railsea", are deserts colonized by ravenous speed-tunneling giant naked mole-rats, and crossed by endless railroad tracks of unclear origin. Its plot is an "affectionate parody" of Herman Melville's classic novel Moby-Dick,[2] but also draws on Robert Louis Stevenson's adventure novels Treasure Island and Kidnapped.[3] The novel follows the adventures of three young orphans, Sham and the Shroake siblings, who join train-captain Abacat Naphi's hunt for her nemesis Mocker-Jack, a giant burrowing "moldywarpe" mole. They eventually set out on a journey to the end of the railsea, and the end of the world.
Reception[edit]
Railsea was generally well received by critics. USA Today '​s reviewer appreciated Miéville's mix of "emotional drama, Godzilla-esque monster carnage" and high adventure that would satisfy teenagers as well as Miéville's adult fans.[4] Stephen Burt remarked on Miéville's inventive language and world-building, and noted that the author's far-left politics are reflected in the slowly emerging history of Railsea '​s derelict world, which amounts to a "funny, far-reaching indictment of modern capitalism".[3]
Several reviewers highlighted the metafictional nature of the novel. Writing for io9, Chris Hsiang noted that it abounds with "impish literary games", and praised its avoidance of either "dystopian romance tropes" or political sermonizing in favor of a challenging, weird but still approachable language and structure.[2] Others were more critical of Railsea '​s metafictional approach. Jason Heller of the A.V. Club wrote that while Miéville's swift and absorbing (if dense) prose and lean plot yielded a "brainy and thrilling" result, it would have been improved "if only he’d stopped less to comment on his own cleverness along the way".[5]
References[edit]
1.Jump up ^ Heller, Billy (12 May 2012). "Required reading". New York Post. Retrieved 17 May 2012.
2.^ Jump up to: a b c Hsiang, Chris (10 May 2012). "Ride China Miéville’s Crazy Train in Railsea". io9. Retrieved 17 May 2012.
3.^ Jump up to: a b Burt, Stephen (10 May 2012). "China Mieville's 'Railsea': 'Moby-Dick' Remixed". NPR. Retrieved 17 May 2012.
4.Jump up ^ Truitt, Brian (16 May 2012). "China Mieville works ‘Moby-Dick’ on the railroad". USA Today. Retrieved 17 May 2012.
5.Jump up ^ Heller, Jason (14 May 2012). "Railsea". The A.V. Club. Retrieved 17 May 2012.
External links[edit]
Railsea title listing at the Internet Speculative Fiction Database


[hide]
v ·
 t ·
 e
 
Works by China Miéville


Bas-Lag novels
Perdido Street Station (2000) ·
 The Scar (2002) ·
 Iron Council (2004)
 

Other fiction
King Rat (1998) ·
 The Tain (novella, 2002) ·
 Looking for Jake (collection, 2005) ·
 Un Lun Dun (2007) ·
 The City & the City (2009) ·
 Kraken (2010) ·
 Embassytown (2011) ·
 Railsea (2012) ·
 Three Moments of an Explosion: Stories (collection, 2015)
 

Related articles
Armada ·
 Bas-Lag ·
 New Crobuzon ·
 Remade
 

  


Categories: 2012 novels
Novels by China Miéville
British adventure novels
British post-apocalyptic novels
British children's novels
British steampunk novels
Dystopian novels
Del Rey books




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Hakugei: Legend of the Moby Dick
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009)
Hakugei: Legend of the Moby Dick
Anime television series
Directed by
Osamu Dezaki
Original run
1997 – 1999
Episodes
26
Portal icon Anime and Manga portal
Hakugei: Legend of the Moby Dick (白鯨伝説 Hakugei Densetsu?) is an animated Japanese television series, based on Herman Melville's original novel Moby-Dick. However, this adaptation used futuristic outer space as the setting, with "whales" being large abandoned spaceships instead. It aired from 1997 to 1999, albeit with a suspension of new episodes from November 1997 to October 1998. The series ran for 26 episodes, which have been released on DVD in the USA by ADV Films, spread across six discs.


Contents  [hide]
1 Characters 1.1 Main Characters
1.2 Ahab Whaling Company
1.3 The Federal Police
1.4 Planet Moad
1.5 Earth Federation
1.6 Others
2 External links

Characters[edit]
Main Characters[edit]
DueVoiced by: Toshihiko Seki (Japanese), Vic Mignogna (English)He is an android for planet development whose registration number is ESP4678-201.AhabVoiced by: Akio Ōtsuka (Japanese), John Swasey (English)His real name is Ahab Ishmael Ali. 35 years old. The captain of a spacecraft Lady Whisker.LuckyVoiced by: Yūko Mizutani (Japanese), Kira Vincent-Davis (English)14-year-old girl.
Ahab Whaling Company[edit]
AtreVoiced by: Shiho Niiyama (episodes 1–19), Makiko Ōmoto (episodes 20–26) (Japanese), Stephanie Nadolny (English)11 years old probationer.DocVoiced by: Keīchi Sonobe (Japanese), David Born (English)Doc Christiansen. The chief doctor, Ahab’s right arm.CookVoiced by: Katsuhisa Hōki (Japanese), Rob Mungle (English)The chief cook.BarbaVoiced by: Ryūzaburō Ōtomo (Japanese), George Manley (English)The progeny of the Tattoo tribe which is the dauntless aborigine of the Daimama star.Speed KingVoiced by: Naoya Uchida (Japanese), John Gremillion (English)An able pilot. A former racer.MutzVoiced by: Kiyoyuki Yanada (Japanese), Illich Guardiola (English)A swordsman.AcademiasVoiced by: Takuma Suzuki (Japanese), Chris Patton (English)The mechanic supervisor.
The Federal Police[edit]
White HatVoiced by: Yoshito Yasuhara (Japanese), Andrew Love (English)A detective of the First Investigation Division of Federal Police 86th Precinct.
Planet Moad[edit]
SaraVoiced by: Emi Shinohara (Japanese), Christine Auten (English)A singer. A woman model android.ShiroVoiced by: Tsutomu Kashiwakura (Japanese), Braden Hunt (English)Shiro Tokisada. The leader of resistance group of planet Moad. Lucky’s elder brother.LisaVoiced by: Rei Sakuma (Japanese), Luci Christian (English)The member of the resistance group of Planet Moad.GarciaVoiced by: Kiyoshi KobayashiThe former worker of the 16th mining area of Planet Moad. 67 years old.MikaVoiced by: Rei Sakuma (Japanese), Luci Christian (English)Mika Michelle Idha. The girl who belongs to planet Moad, resistance.
Earth Federation[edit]
MuratoVoiced by: Tesshō Genda (Japanese), Christopher Ayres (English)The captain of the Moad garrison. A giant android measuring 3 meters tall.OharaVoiced by: Hiromi Tsuru (Japanese), ? (English)Jane Ohara. A special adviser of the planet development of the Earth Federation.General HoVoiced by: Yu Mizushima (Japanese), ? (English)The commander of the Seventh Fleet of the Earth Federation expeditionary forces. The 14th son of the new president.Moby DickVoiced by: Yūji Mikimoto (Japanese), James Faulkner (English)Super space battleship of Earth Federales. It was remodeled into the planet extinction weapon later and floats on Moad orbit.
Others[edit]
MarieVoiced by: Eiko Kudō (Japanese), Jessica Boone (English)A women's college student of the planet Cape God. She stowed away on Lady Whisker.
External links[edit]
Hakugei: Legend of the Moby Dick (anime) at Anime News Network's encyclopedia


[hide]
v ·
 t ·
 e
 
Herman Melville's Moby-Dick (1851)


Characters
Captain Ahab ·
 Ishmael ·
 Moby Dick ·
 Queequeg ·
 Father Mapple
 

Ships
Pequod
 

Special subjects
Cetology ·
 Fast-Fish and Loose-Fish
 

Adaptations



Film

The Sea Beast (1926 silent) ·
 Moby Dick (1930) ·
 Moby Dick (1956) ·
 Moby Dick (1971) ·
 Moby Dick (1978) ·
 Moby Dick (2010)
 


Television

Hakugei: Legend of the Moby Dick (1997 Japanese) ·
 Moby Dick (1998) ·
 Moby Dick (2011)
 


Stage

Moby Dick—Rehearsed (1955) ·
 Moby Dick (1990 musical) ·
 Moby-Dick (2010 opera)
 


Other

Age of the Dragons ·
 The Call of the Wretched Sea ·
 Capitaine Achab ·
 Dopey Dick the Pink Whale ·
 Dicky Moe ·
 Leviathan ·
 "Möbius Dick" ·
 Moby Dick and Mighty Mightor ·
 Railsea ·
 Samson & Sally
 


Related
Moby Dick Coin
 




Stub icon This anime television series–related article is a stub. You can help Wikipedia by expanding it.




  


Categories: 1997 anime television series
ADV Films
Moby-Dick
Odex
Anime series stubs








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Hakugei: Legend of the Moby Dick
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2009)
Hakugei: Legend of the Moby Dick
Anime television series
Directed by
Osamu Dezaki
Original run
1997 – 1999
Episodes
26
Portal icon Anime and Manga portal
Hakugei: Legend of the Moby Dick (白鯨伝説 Hakugei Densetsu?) is an animated Japanese television series, based on Herman Melville's original novel Moby-Dick. However, this adaptation used futuristic outer space as the setting, with "whales" being large abandoned spaceships instead. It aired from 1997 to 1999, albeit with a suspension of new episodes from November 1997 to October 1998. The series ran for 26 episodes, which have been released on DVD in the USA by ADV Films, spread across six discs.


Contents  [hide]
1 Characters 1.1 Main Characters
1.2 Ahab Whaling Company
1.3 The Federal Police
1.4 Planet Moad
1.5 Earth Federation
1.6 Others
2 External links

Characters[edit]
Main Characters[edit]
DueVoiced by: Toshihiko Seki (Japanese), Vic Mignogna (English)He is an android for planet development whose registration number is ESP4678-201.AhabVoiced by: Akio Ōtsuka (Japanese), John Swasey (English)His real name is Ahab Ishmael Ali. 35 years old. The captain of a spacecraft Lady Whisker.LuckyVoiced by: Yūko Mizutani (Japanese), Kira Vincent-Davis (English)14-year-old girl.
Ahab Whaling Company[edit]
AtreVoiced by: Shiho Niiyama (episodes 1–19), Makiko Ōmoto (episodes 20–26) (Japanese), Stephanie Nadolny (English)11 years old probationer.DocVoiced by: Keīchi Sonobe (Japanese), David Born (English)Doc Christiansen. The chief doctor, Ahab’s right arm.CookVoiced by: Katsuhisa Hōki (Japanese), Rob Mungle (English)The chief cook.BarbaVoiced by: Ryūzaburō Ōtomo (Japanese), George Manley (English)The progeny of the Tattoo tribe which is the dauntless aborigine of the Daimama star.Speed KingVoiced by: Naoya Uchida (Japanese), John Gremillion (English)An able pilot. A former racer.MutzVoiced by: Kiyoyuki Yanada (Japanese), Illich Guardiola (English)A swordsman.AcademiasVoiced by: Takuma Suzuki (Japanese), Chris Patton (English)The mechanic supervisor.
The Federal Police[edit]
White HatVoiced by: Yoshito Yasuhara (Japanese), Andrew Love (English)A detective of the First Investigation Division of Federal Police 86th Precinct.
Planet Moad[edit]
SaraVoiced by: Emi Shinohara (Japanese), Christine Auten (English)A singer. A woman model android.ShiroVoiced by: Tsutomu Kashiwakura (Japanese), Braden Hunt (English)Shiro Tokisada. The leader of resistance group of planet Moad. Lucky’s elder brother.LisaVoiced by: Rei Sakuma (Japanese), Luci Christian (English)The member of the resistance group of Planet Moad.GarciaVoiced by: Kiyoshi KobayashiThe former worker of the 16th mining area of Planet Moad. 67 years old.MikaVoiced by: Rei Sakuma (Japanese), Luci Christian (English)Mika Michelle Idha. The girl who belongs to planet Moad, resistance.
Earth Federation[edit]
MuratoVoiced by: Tesshō Genda (Japanese), Christopher Ayres (English)The captain of the Moad garrison. A giant android measuring 3 meters tall.OharaVoiced by: Hiromi Tsuru (Japanese), ? (English)Jane Ohara. A special adviser of the planet development of the Earth Federation.General HoVoiced by: Yu Mizushima (Japanese), ? (English)The commander of the Seventh Fleet of the Earth Federation expeditionary forces. The 14th son of the new president.Moby DickVoiced by: Yūji Mikimoto (Japanese), James Faulkner (English)Super space battleship of Earth Federales. It was remodeled into the planet extinction weapon later and floats on Moad orbit.
Others[edit]
MarieVoiced by: Eiko Kudō (Japanese), Jessica Boone (English)A women's college student of the planet Cape God. She stowed away on Lady Whisker.
External links[edit]
Hakugei: Legend of the Moby Dick (anime) at Anime News Network's encyclopedia


[hide]
v ·
 t ·
 e
 
Herman Melville's Moby-Dick (1851)


Characters
Captain Ahab ·
 Ishmael ·
 Moby Dick ·
 Queequeg ·
 Father Mapple
 

Ships
Pequod
 

Special subjects
Cetology ·
 Fast-Fish and Loose-Fish
 

Adaptations



Film

The Sea Beast (1926 silent) ·
 Moby Dick (1930) ·
 Moby Dick (1956) ·
 Moby Dick (1971) ·
 Moby Dick (1978) ·
 Moby Dick (2010)
 


Television

Hakugei: Legend of the Moby Dick (1997 Japanese) ·
 Moby Dick (1998) ·
 Moby Dick (2011)
 


Stage

Moby Dick—Rehearsed (1955) ·
 Moby Dick (1990 musical) ·
 Moby-Dick (2010 opera)
 


Other

Age of the Dragons ·
 The Call of the Wretched Sea ·
 Capitaine Achab ·
 Dopey Dick the Pink Whale ·
 Dicky Moe ·
 Leviathan ·
 "Möbius Dick" ·
 Moby Dick and Mighty Mightor ·
 Railsea ·
 Samson & Sally
 


Related
Moby Dick Coin
 




Stub icon This anime television series–related article is a stub. You can help Wikipedia by expanding it.




  


Categories: 1997 anime television series
ADV Films
Moby-Dick
Odex
Anime series stubs








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Article

Talk









Read

Edit

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Upload file
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Page information
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Cite this page

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Download as PDF
Printable version

Languages
日本語
Edit links
This page was last modified on 20 April 2013, at 07:24.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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Moby Dick (1930 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2014)

Moby Dick
Moby Dick 1930 Poster.jpg
Directed by
Lloyd Bacon
Produced by
Warner Brothers
Written by
J. Grubb Alexander (dialogue and screenplay)
Herman Melville (novel)
Oliver H.P. Garrett (adaptation)
Starring
John Barrymore
Joan Bennett
Music by
William Axt
 David Mendoza
Cinematography
Robert Kurrle
Edited by
Desmond O'Brien
Distributed by
Warner Bros.

Release dates

September 30, 1930


Running time
 80 min
Country
United States
Language
English
Moby Dick is a 1930 all-talking film made by Warner Bros., directed by Lloyd Bacon, and starring John Barrymore and Joan Bennett. The film is a sound remake of the 1926 silent movie, The Sea Beast, which also starred Barrymore.


Contents  [hide]
1 Plot 1.1 Differences from novel
2 Cast
3 Foreign Language Versions
4 Preservation
5 External links

Plot[edit]
The film tells of a sea captain's maniacal quest for revenge on a great white whale who has bitten off his leg. Barrymore, as Ahab, meet and falls in love with Joan Bennett, daughter of the local minister, after disembarking in New Bedford. Bennett quickly falls in love with Barrymore and is heartbroken when he leaves on another voyage. During his next voyage, Barrymore loses his leg to a large white whale. When he returns to New Bedford, he mistakenly believes that Bennett no longer wants to see him because of his disfigurement. He vows revenge against the whale, and to kill it or be killed in the process, and returns to sea.
Differences from novel[edit]
The film, just as The Sea Beast (the previous 1926 silent version) was, is an extremely free adaptation of the novel Moby-Dick by Herman Melville. It implements a prequel and sequel element to the story that did not exist in Melville's novel. As an example of the changes found in the film, Captain Ahab is portrayed as a handsome romantic hero with a pretty girlfriend, but his evil brother manipulates the situation so that she will reject him. He also has both of his legs until he embarks on the voyage in which Moby Dick bites off one of them and he becomes consumed with revenge and embarks on the odyssey to kill the whale that maimed him. Ultimately, Ahab survives the ordeal, kills his stowaway brother (as well as Moby Dick), and returns home to the woman who loves him.[citation needed]
Cast[edit]
##John Barrymore as Captain Ahab Ceely
##Joan Bennett as Faith Mapple
##Lloyd Hughes as Derek Ceely
##Noble Johnson as Queequeg
##Nigel De Brulier as Elijah
##Walter Long as Mr Stubbs
##May Boley as Whale Oil Rosie
##Tom O'Brien as Starbuck
##Virginia Sale as First Old Maid
##John Ince as Reverend Mapple
Foreign Language Versions[edit]
One Foreign Language Version of the 1930 version of Moby Dick was produced. The German version was titled Dämon des Meeres and was directed by Michael Curtiz.
Preservation[edit]
The film survives intact and has been broadcast on television and cable but has yet to see a Warner Archive DVD-on-demand availability.
External links[edit]
##Moby Dick at the TCM Movie Database
##Moby Dick at the Internet Movie Database
##Moby Dick at AllMovie


[show]
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 e
 
Films directed by Lloyd Bacon







































































[show]
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Herman Melville's Moby-Dick (1851)






































































  


Categories: 1930 films
English-language films
Multilingual films
Warner Bros. films
Black-and-white films
American films
Films about whaling
1930s adventure films
Films based on Moby-Dick
Films directed by Lloyd Bacon
Films set in the 1830s
Films set in the 1840s








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Moby Dick (1930 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2014)

Moby Dick
Moby Dick 1930 Poster.jpg
Directed by
Lloyd Bacon
Produced by
Warner Brothers
Written by
J. Grubb Alexander (dialogue and screenplay)
Herman Melville (novel)
Oliver H.P. Garrett (adaptation)
Starring
John Barrymore
Joan Bennett
Music by
William Axt
 David Mendoza
Cinematography
Robert Kurrle
Edited by
Desmond O'Brien
Distributed by
Warner Bros.

Release dates

September 30, 1930


Running time
 80 min
Country
United States
Language
English
Moby Dick is a 1930 all-talking film made by Warner Bros., directed by Lloyd Bacon, and starring John Barrymore and Joan Bennett. The film is a sound remake of the 1926 silent movie, The Sea Beast, which also starred Barrymore.


Contents  [hide]
1 Plot 1.1 Differences from novel
2 Cast
3 Foreign Language Versions
4 Preservation
5 External links

Plot[edit]
The film tells of a sea captain's maniacal quest for revenge on a great white whale who has bitten off his leg. Barrymore, as Ahab, meet and falls in love with Joan Bennett, daughter of the local minister, after disembarking in New Bedford. Bennett quickly falls in love with Barrymore and is heartbroken when he leaves on another voyage. During his next voyage, Barrymore loses his leg to a large white whale. When he returns to New Bedford, he mistakenly believes that Bennett no longer wants to see him because of his disfigurement. He vows revenge against the whale, and to kill it or be killed in the process, and returns to sea.
Differences from novel[edit]
The film, just as The Sea Beast (the previous 1926 silent version) was, is an extremely free adaptation of the novel Moby-Dick by Herman Melville. It implements a prequel and sequel element to the story that did not exist in Melville's novel. As an example of the changes found in the film, Captain Ahab is portrayed as a handsome romantic hero with a pretty girlfriend, but his evil brother manipulates the situation so that she will reject him. He also has both of his legs until he embarks on the voyage in which Moby Dick bites off one of them and he becomes consumed with revenge and embarks on the odyssey to kill the whale that maimed him. Ultimately, Ahab survives the ordeal, kills his stowaway brother (as well as Moby Dick), and returns home to the woman who loves him.[citation needed]
Cast[edit]
##John Barrymore as Captain Ahab Ceely
##Joan Bennett as Faith Mapple
##Lloyd Hughes as Derek Ceely
##Noble Johnson as Queequeg
##Nigel De Brulier as Elijah
##Walter Long as Mr Stubbs
##May Boley as Whale Oil Rosie
##Tom O'Brien as Starbuck
##Virginia Sale as First Old Maid
##John Ince as Reverend Mapple
Foreign Language Versions[edit]
One Foreign Language Version of the 1930 version of Moby Dick was produced. The German version was titled Dämon des Meeres and was directed by Michael Curtiz.
Preservation[edit]
The film survives intact and has been broadcast on television and cable but has yet to see a Warner Archive DVD-on-demand availability.
External links[edit]
##Moby Dick at the TCM Movie Database
##Moby Dick at the Internet Movie Database
##Moby Dick at AllMovie


[show]
v ·
 t ·
 e
 
Films directed by Lloyd Bacon







































































[show]
v ·
 t ·
 e
 
Herman Melville's Moby-Dick (1851)






































































  


Categories: 1930 films
English-language films
Multilingual films
Warner Bros. films
Black-and-white films
American films
Films about whaling
1930s adventure films
Films based on Moby-Dick
Films directed by Lloyd Bacon
Films set in the 1830s
Films set in the 1840s








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This page was last modified on 17 January 2015, at 17:38.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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Green Shadows, White Whale
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (May 2013)
Green Shadows, White Whale
Green shadows white whale first.jpg
Dust-jacket from the first edition

Author
Ray Bradbury
Country
United States
Language
English
Genre
Fantasy, Soft science fiction
Publisher
Alfred A. Knopf

Publication date
 1992
Media type
Print (Hardcover and Paperback)
Pages
271 pp
ISBN
0-394-57878-3
OCLC
25095626

Dewey Decimal
 813/.54 20
LC Class
PS3503.R167 G75 1992
Green Shadows, White Whale is a 1992 novel by Ray Bradbury. It gives a fictionalized account of his journey to Ireland in 1953-1954 to write a screen adaptation of the novel Moby-Dick with director John Huston. Bradbury has said he wrote it after reading actress Katharine Hepburn's account of filming The African Queen with Huston in Africa. The title itself is a play on Peter Viertel's novel White Hunter, Black Heart, which is also about Huston.
Bradbury considers Green Shadows to be the culmination of thirty-five years of short stories, poems, and plays that were inspired by his stay in Ireland. As with most of his previous short-story collections, including The Illustrated Man and The Martian Chronicles, many of the short stories were originally published elsewhere and modified slightly for publication in the novel.


Contents  [hide]
1 Plot summary
2 Plot
3 Literary significance and criticism
4 Footnotes
5 References
6 External links

Plot summary[edit]
The narrator, an unnamed writer, is sent to Dublin, Ireland to coproduce a film adaptation of Moby Dick with a director whose first name is given as "John". While there, he hears of the many strange and surreal stories of the boyos in Finn's pub that make up the bulk of the novel, along with other adventures in the land of Ireland, including a "hunt wedding" and a house that has a mind of its own. The last chapter of the novel is devoted to the successful completion of the screenplay and the narrator's resulting ascent to fame.
Plot[edit]
The narrator arrives in Ireland by ferry. In his conversation with the customs inspector, his identity as a screenplay writer working on Moby Dick is introduced. They also discuss the peculiarities of the Irish. The narrator checks in at the Royal Hibernian Hotel in Dublin before leaving in a taxi for Kilcock. The taxi breaks down, and, after some resistance on his part, the narrator rides off on a bicycle given to him by the taxi driver. The narrator meets another bicyclist who tells him more of Ireland and its people. They proceed to Heeber Finn's pub, where the bicyclist is greeted as Mike, and the rest of the pub patrons are introduced.
An injured man stumbles into the pub and informs those inside of a collision on the road. The collision turns out to be that of two bicyclists. The narrator learns that these are common as bicyclists travel at high speeds through the fog. One of the victims is taken to a local clinic in the only car present, and the narrator rides off on the wrong side of the road, as advised. The narrator meets with his director, John. They sit down to dinner with John's wife, Ricki, and John tells a story about his and his wife's trip to Spain, calling Ricki a coward, which upsets her. The narrator then flashes back to when he was buying his travel copy of Moby Dick. A woman warned him not to go to Ireland because the director is a monster.
The narrator works for weeks on what he refers to as "the Whale" through the rain in Ireland. One night, Finn takes the narrator and Mike on a wild drive to bet on dog races. The narrator returns to his hotel and bed. The narrator buys a hunting outfit at Tyson's and goes to show it to John. John "hypnotizes" the narrator, who he calls H.G. for H.G. Wells, and the narrator says he wants to write "the... finest screenplay in the history of the world."
John's friend Tom calls from New York City, and John asks him and his fiancée, Lisa, to come to Ireland and have a "hunt wedding." Tom and Lisa disembark from the plane fighting, which amuses John. More is told about Tom and John, and the planning of the hunt wedding is begun. They finally find a reverend that will marry the two non-Catholics, Reverend Hicks, a Unitarian. The minister finds that the couple fights a lot, and they go to meet with him about it and fight the whole time. He says it is not a marriage but a "rematch," and the narrator convinces him to marry the two anyway. John falls off a horse while interviewing actors for the film and is considerably injured. On hunter's wife is heard to have died from falling off her horse, which causes the wedding to be delayed and considerably affects Tom. John arrives back in Ireland on crutches. He tells of his fall and goes home to Ricki, who finally finds out about his injuries. Tom, Lisa, John, and the narrator go out to dinner, where John tells Tom and Lisa that the screaming of the chef in the kitchen while the doors swing open sounds like Tom their fighting, which surprises them. Mike and the narrator go to pick up the minister, and Mike talks about Ireland during the trip. The day of the hunt wedding follows, and Lisa has a bad cold. The minister, after waiting for Ricki to get a Bible, enters a long sermon about sin. The cake is served and found to be rock hard after the week of delay. Tom then asks the minister about the legitimacy of the marriage, who then pronounces them man and wife. Tom rides off to the hunt, but John is detained by his injuries. Lisa then asks the minister about the legality of the marriage, and he gives her papers to sign. The narrator awakes back at his hotel and Ricki calls. She tells him of the proceedings after the wedding, and Tom is nowhere to be found.
John gives Ricki a horse as a Christmas present. She rides off but falls, and John orders her back onto the horse. The narrator works on his novel and then decides to go to Finn's. Finn tells a story of the fathers of the men in the pub. They go to burn down the house of Lord Kilgotten, who instead invites them in. They decide to wait until the next night to burn the house. Lord Kilgotten then takes them through his house, showing them all of his paintings, and they all volunteer to save the paintings between them before the fire. Later, however, they all return with the paintings after meeting different problems in taking possession of the works of art. Lord Kilgotten has them put all of the paintings back in his house, with the exception of a portrait of him by Lady Kilgotten which he told them not to save in the first place.
The narrator talks to John about how he can't help but give to the beggars outside and had been afraid to go out. John tries to give him advice and leads the way, but the narrator breaks down and gives to the beggars. They then proceed to O'Connell Bridge, where there is a beggar that the narrator thinks is blind, and who makes him both angry and compassionate. He is the only man without a cap and plays his concertina and sings beautifully. John is about to give him money, but the narrator stops him. The narrator then goes to buy the man a cap, deciding it's not just a ruse to evoke sympathy. He returns to find only a man and a woman on the bridge making horrible noise with a piano box on the bridge. John narrator find out from the paper that the man jumped off the bridge. John talks about the beggars and why they are in the position to beg, and the narrator goes out and gives the cap and all of the money he has with him to the first beggars that he sees.
The narrator briefly speaks with Finn about figuring out the Irish. Nora, a friend of the narrator, calls, and invites him to her place, which is called Grynwood. Once there, she explains to him that the house burned down four years before. She had rebuilt an exact copy, but found that nothing was the same. When she invited all of the guests for the first party, the atmosphere was very empty and quiet, and all of the guests left. She tells him that she and her friends were old evil, and with the house new and innocent, it didn't want them there anymore. She offers the house to the narrator, but he also finds that the house gives subtle hints that it doesn't want him there. They go back to Dublin together, and the narrator finds her gone in the morning.
The narrator returns to Finn's and talks with him shortly, primarily about John and the many people that have taken riding lessons and ended up injured. The narrator tells John that he won't be taking any more riding lessons. News comes to the pub that Lord Kilgotten has died. Everyone wonders what will become of his extensive wine collection, and this is answered at his funeral. In the wake come his coffin, made out of wine crates, and a lawyer, who reads Lord Kilgotten's will. In it he states that the residents of the town would not appreciate the value of the wine, and that he wants to have it all poured into the grave before he is buried. The men from the pub could not let all of the wine be wasted, and, after Finn's suggestion, they decide to drink the wine and relieve themselves in the grave, fulfilling the codicil of Kilgotten.
Finn tells of the AMA's (American Medical Association) visit to Dublin. After finding and reporting endless problems in Dublin's facilities, the Irish threw them out. Finn tells the narrator to use the back door to his pub rather than the front on any bad days. He says that thinking only brings problems, and that it's better to drink and enjoy being alive. He also recommends a good pub in Dublin called "The Four Provinces." The narrator goes to The Four Provinces on the extremely dull day of Sunday. He meets a man that tells him that thanking others for things makes life much better. The narrator leaves the pub and comes across a woman playing her harp. He thanks her and tells her what an effect she had on his day. However, he finds that he almost thanked her too much, to the point where she stops playing for a while.
The narrator calls for Mike to come pick him up and take him to Finn's. While he drives very gently, Mike says that he has decided to give up what the narrator believes is smoking for Lent. The next day Mike returns to pick up the narrator, this time driving wildly, and the narrator realizes that Mike gave up drinking, not smoking, and that the crazy drive was the first time he rode with Mike while he was sober. The narrator tells Mike that he should find something else to give up, Mike has a drink, and then they slowly drive back to Dublin.
While going into the Royal Hibernian, the narrator meets a beggar and her child. He is shocked to find that they are the same ones he saw many years ago in a previous trip to Dublin, and asks the doorman about them. Nick, the doorman, says that they have been there for many years. The vision of the two plagues the narrator, and he wanders around Dublin looking for them. He finally runs into the woman around a corner, and she takes off running. He loses them and decides to go into The Four Provinces, where he finds them. He talks with the babe, who he learns is forty years old and called Brat, and the "mother" is his sister. They have been begging in front of the Hibernian for thirty years, and the rest of their family before that. Brat has no explanation for his small size, and says that they will soon have enough to sail to New York and no longer have to beg.
The narrator receives a cable that he had won an award from the National Institute of Arts and Letters of $5,000. He shares it with Ricki, John, and Jake Vickers. John insists that he find a way to spend it and earn more rather than let it rot. Then John brings up homosexuality, but unlike John and Jake the narrator has nothing to share on the topic. The subject returns to the prize money, and the narrator continues to refuse to go spend the money, and the two other men call him a coward. This takes a way the meaning from the prize and the money, and the narrator announces that he will bet all of the money at a horse race. Ricki had been quietly encouraging him through all of this, and they go out to the porch, where she reads him the letter again and the meaning returns. Nothing more is said of the prize or the money.
The narrator has a nightmare where John comes to his door in a wetsuit and says he will teach him to snorkel. The narrator goes after John tells him not to be yellow, and he drowns. Finn wakes the narrator, who was sleeping in the pub. He tells him a story of a visit that George Bernard Shaw made to the pub. He put up signs in the pub reading "Stop," "Consider," "Think," and "Do." This brought about silence in the pub for the first time in twenty years, and Father O'Malley has a conversation with Shaw about the philosophy of the words, and eventually has them all taken down. Shaw sees his mistake and breaks them all in his bag before leaving.
John tells two reporters that he doesn't think the narrator's heart is really in the writing of the screenplay. As quite the opposite is true, the narrator is devastated, while John insists that it was only a joke. The narrator then goes and writes a short story. In this story, he goes to bring John the latest progress on the script. John reads each page and lets it fall, and at the end proclaims it good. They hear sounds outside, and John says it is a banshee, which appears an hour before someone's death. He then reads a review of the narrator's work, which turns out to be very bad. He throws it in the fire and says that it was actually a good review that he embellished a bit. They then discuss the sound of a banshee outside, and the narrator eventually goes out though John tries to stop him. He finds a woman that describes John but calls him Joe, and says that he is nobody's friend and does not really love. The narrator comes back in, and talks to John about the review, and then the banshee outside. John goes out though the narrator tries to stop him, and the narrator goes to bed. The narrator gives the story to John and tells him not to toss the pages as he reads. He then hears John mutter that there will be no more jokes.
A very odd group arrives at the Royal Hibernian, led by a man named David Snell-Orkney, and come from Sicily. They become the talk of the town very quickly, and the pub patrons decide to surround the park in which the group is. After a half an hour, the group was still just sitting there watching the trees, and the few that actually stayed gave up on the watch. Timulty enters the pub declares that the Sicilians are very similar to the Irish, which the people in the pub are very opposed to at first but come to realize is true. Then the group comes in the pub, and says that they have been following summer around the globe and decided to stop by for some winter in Dublin. They had been looking at the leaves fall off the trees in the snow and ice. The Irishmen of the pub realize that they have not noticed the trees in decades, and they all go out to look at the leaves. Father Leary takes the group to his church, and later Finn convinces them to come see a "sprint."
The Irish explain to the narrator and the Snell-Orkney group the anthem sprint. After a show in the cinema, the national anthem of Ireland is played. The moviegoers make a sport to see who can get out of the theater first after the movie before the anthem begins. Doone and Hoolihan decide to have an anthem run. All of the rules are explained, and after the movie, Hoolihan rushes out, but Doone does not. They find him still in the theater, where he was overcome by the singing of Deanna Durbin, which reminded him of his dead grandmother. They have the end of the film run again to redo the anthem sprint, but as the end approaches, Doone realizes that his leg is dead. He gives his cap and scarf to the narrator and tells him to run in his place. The narrator does so, but finds that he is the only one that ran. The rest are still in the theater, and then they wall watch again.
Snell-Orkney and his friends all sail away singing. The narrator is at dinner, talking a lot with John, Jake, and friends. He makes jokes about everyone he can, evoking laughter from everyone present. He "hypnotizes" John, and tells him that it is not that the narrator that fears flying, but that John fears sailing. Later, John tells him that he needs to fly to England. The narrator says that he is scared to death and will not go, and John threatens to take both his vacation and that of their secretary. The narrator refuses and says that everyone will get their vacation, he will take the ferry, and John will fly. John leaves the room quickly, and refuses to talk to the narrator for a day and a half. Jake tells him that it is just a joke and that if he doesn't act upset about it that John will let it go.
The narrator awakes at seven, convinces himself that he is Herman Melville, and writes into the afternoon, finishing the script. He takes it to John, who is impressed, and says that he should take the ferry to England. The narrator tells the people in Finn's pub what he's found out about Ireland and says goodbye to them, and as he leaves, he sees the hills as green.



 Cover of a paperback reprint edition
Literary significance and criticism[edit]
Green Shadows, White Whale received mixed reviews at its debut. Some critics gave the work high praise: Publishers Weekly said it was a "lighthearted, beguiling autobiographical novel", concluding, "Bradbury's prose is as vibrant and distinctive as the landscape in which these delightful tales are set." Kirkus Reviews called it "Bradbury's triumph. He has never written better."
Others found it to fall short because of its stilted diction and stereotypical characters and plots. The New York Times found it "Somewhere between homage and hokum … a cartoon that might be offensive if it weren't so affectionate."[1] The Los Angeles Times said it was "a charming, delicate story" of Bradbury's memories, and what they mean to him, "and if at times the words seem hushed, muted in their reverence for history, the cast of characters … keeps the story from sliding headlong into wistfulness."[2] David Soyka of the SF Site labeled the novel as a "disappointment" because of its clichéd plots and lack of coherency of the stories' themes.[3] The Chicago Tribune criticized Bradbury's "tin ear" for dialogue, complaining that "All of his Irish characters talk like Barry Fitzgerald reciting Sean O'Casey to a busload of tourists from Tulsa."[4]
Footnotes[edit]
1.Jump up ^ Review by Peter Finn, 26 July 1992, Section 7.
2.Jump up ^ Book Section, 7 June 1992.
3.Jump up ^ Soyka, David (1999). "The SF Site Featured Review: Green Shadows, White Whale."
4.Jump up ^ Review by Thomas Flanagan, 31 May 1992, Books Section.
References[edit]
Brown, Charles N.; William G. Contento. "The Locus Index to Science Fiction (1984-1998)". Retrieved 2007-12-13.
External links[edit]
Green Shadows, White Whale title listing at the Internet Speculative Fiction Database


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1990s science fiction novels
Alfred A. Knopf books





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 http://en.wikipedia.org/wiki/Green_Shadows,_White_Whale












Green Shadows, White Whale
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (May 2013)
Green Shadows, White Whale
Green shadows white whale first.jpg
Dust-jacket from the first edition

Author
Ray Bradbury
Country
United States
Language
English
Genre
Fantasy, Soft science fiction
Publisher
Alfred A. Knopf

Publication date
 1992
Media type
Print (Hardcover and Paperback)
Pages
271 pp
ISBN
0-394-57878-3
OCLC
25095626

Dewey Decimal
 813/.54 20
LC Class
PS3503.R167 G75 1992
Green Shadows, White Whale is a 1992 novel by Ray Bradbury. It gives a fictionalized account of his journey to Ireland in 1953-1954 to write a screen adaptation of the novel Moby-Dick with director John Huston. Bradbury has said he wrote it after reading actress Katharine Hepburn's account of filming The African Queen with Huston in Africa. The title itself is a play on Peter Viertel's novel White Hunter, Black Heart, which is also about Huston.
Bradbury considers Green Shadows to be the culmination of thirty-five years of short stories, poems, and plays that were inspired by his stay in Ireland. As with most of his previous short-story collections, including The Illustrated Man and The Martian Chronicles, many of the short stories were originally published elsewhere and modified slightly for publication in the novel.


Contents  [hide]
1 Plot summary
2 Plot
3 Literary significance and criticism
4 Footnotes
5 References
6 External links

Plot summary[edit]
The narrator, an unnamed writer, is sent to Dublin, Ireland to coproduce a film adaptation of Moby Dick with a director whose first name is given as "John". While there, he hears of the many strange and surreal stories of the boyos in Finn's pub that make up the bulk of the novel, along with other adventures in the land of Ireland, including a "hunt wedding" and a house that has a mind of its own. The last chapter of the novel is devoted to the successful completion of the screenplay and the narrator's resulting ascent to fame.
Plot[edit]
The narrator arrives in Ireland by ferry. In his conversation with the customs inspector, his identity as a screenplay writer working on Moby Dick is introduced. They also discuss the peculiarities of the Irish. The narrator checks in at the Royal Hibernian Hotel in Dublin before leaving in a taxi for Kilcock. The taxi breaks down, and, after some resistance on his part, the narrator rides off on a bicycle given to him by the taxi driver. The narrator meets another bicyclist who tells him more of Ireland and its people. They proceed to Heeber Finn's pub, where the bicyclist is greeted as Mike, and the rest of the pub patrons are introduced.
An injured man stumbles into the pub and informs those inside of a collision on the road. The collision turns out to be that of two bicyclists. The narrator learns that these are common as bicyclists travel at high speeds through the fog. One of the victims is taken to a local clinic in the only car present, and the narrator rides off on the wrong side of the road, as advised. The narrator meets with his director, John. They sit down to dinner with John's wife, Ricki, and John tells a story about his and his wife's trip to Spain, calling Ricki a coward, which upsets her. The narrator then flashes back to when he was buying his travel copy of Moby Dick. A woman warned him not to go to Ireland because the director is a monster.
The narrator works for weeks on what he refers to as "the Whale" through the rain in Ireland. One night, Finn takes the narrator and Mike on a wild drive to bet on dog races. The narrator returns to his hotel and bed. The narrator buys a hunting outfit at Tyson's and goes to show it to John. John "hypnotizes" the narrator, who he calls H.G. for H.G. Wells, and the narrator says he wants to write "the... finest screenplay in the history of the world."
John's friend Tom calls from New York City, and John asks him and his fiancée, Lisa, to come to Ireland and have a "hunt wedding." Tom and Lisa disembark from the plane fighting, which amuses John. More is told about Tom and John, and the planning of the hunt wedding is begun. They finally find a reverend that will marry the two non-Catholics, Reverend Hicks, a Unitarian. The minister finds that the couple fights a lot, and they go to meet with him about it and fight the whole time. He says it is not a marriage but a "rematch," and the narrator convinces him to marry the two anyway. John falls off a horse while interviewing actors for the film and is considerably injured. On hunter's wife is heard to have died from falling off her horse, which causes the wedding to be delayed and considerably affects Tom. John arrives back in Ireland on crutches. He tells of his fall and goes home to Ricki, who finally finds out about his injuries. Tom, Lisa, John, and the narrator go out to dinner, where John tells Tom and Lisa that the screaming of the chef in the kitchen while the doors swing open sounds like Tom their fighting, which surprises them. Mike and the narrator go to pick up the minister, and Mike talks about Ireland during the trip. The day of the hunt wedding follows, and Lisa has a bad cold. The minister, after waiting for Ricki to get a Bible, enters a long sermon about sin. The cake is served and found to be rock hard after the week of delay. Tom then asks the minister about the legitimacy of the marriage, who then pronounces them man and wife. Tom rides off to the hunt, but John is detained by his injuries. Lisa then asks the minister about the legality of the marriage, and he gives her papers to sign. The narrator awakes back at his hotel and Ricki calls. She tells him of the proceedings after the wedding, and Tom is nowhere to be found.
John gives Ricki a horse as a Christmas present. She rides off but falls, and John orders her back onto the horse. The narrator works on his novel and then decides to go to Finn's. Finn tells a story of the fathers of the men in the pub. They go to burn down the house of Lord Kilgotten, who instead invites them in. They decide to wait until the next night to burn the house. Lord Kilgotten then takes them through his house, showing them all of his paintings, and they all volunteer to save the paintings between them before the fire. Later, however, they all return with the paintings after meeting different problems in taking possession of the works of art. Lord Kilgotten has them put all of the paintings back in his house, with the exception of a portrait of him by Lady Kilgotten which he told them not to save in the first place.
The narrator talks to John about how he can't help but give to the beggars outside and had been afraid to go out. John tries to give him advice and leads the way, but the narrator breaks down and gives to the beggars. They then proceed to O'Connell Bridge, where there is a beggar that the narrator thinks is blind, and who makes him both angry and compassionate. He is the only man without a cap and plays his concertina and sings beautifully. John is about to give him money, but the narrator stops him. The narrator then goes to buy the man a cap, deciding it's not just a ruse to evoke sympathy. He returns to find only a man and a woman on the bridge making horrible noise with a piano box on the bridge. John narrator find out from the paper that the man jumped off the bridge. John talks about the beggars and why they are in the position to beg, and the narrator goes out and gives the cap and all of the money he has with him to the first beggars that he sees.
The narrator briefly speaks with Finn about figuring out the Irish. Nora, a friend of the narrator, calls, and invites him to her place, which is called Grynwood. Once there, she explains to him that the house burned down four years before. She had rebuilt an exact copy, but found that nothing was the same. When she invited all of the guests for the first party, the atmosphere was very empty and quiet, and all of the guests left. She tells him that she and her friends were old evil, and with the house new and innocent, it didn't want them there anymore. She offers the house to the narrator, but he also finds that the house gives subtle hints that it doesn't want him there. They go back to Dublin together, and the narrator finds her gone in the morning.
The narrator returns to Finn's and talks with him shortly, primarily about John and the many people that have taken riding lessons and ended up injured. The narrator tells John that he won't be taking any more riding lessons. News comes to the pub that Lord Kilgotten has died. Everyone wonders what will become of his extensive wine collection, and this is answered at his funeral. In the wake come his coffin, made out of wine crates, and a lawyer, who reads Lord Kilgotten's will. In it he states that the residents of the town would not appreciate the value of the wine, and that he wants to have it all poured into the grave before he is buried. The men from the pub could not let all of the wine be wasted, and, after Finn's suggestion, they decide to drink the wine and relieve themselves in the grave, fulfilling the codicil of Kilgotten.
Finn tells of the AMA's (American Medical Association) visit to Dublin. After finding and reporting endless problems in Dublin's facilities, the Irish threw them out. Finn tells the narrator to use the back door to his pub rather than the front on any bad days. He says that thinking only brings problems, and that it's better to drink and enjoy being alive. He also recommends a good pub in Dublin called "The Four Provinces." The narrator goes to The Four Provinces on the extremely dull day of Sunday. He meets a man that tells him that thanking others for things makes life much better. The narrator leaves the pub and comes across a woman playing her harp. He thanks her and tells her what an effect she had on his day. However, he finds that he almost thanked her too much, to the point where she stops playing for a while.
The narrator calls for Mike to come pick him up and take him to Finn's. While he drives very gently, Mike says that he has decided to give up what the narrator believes is smoking for Lent. The next day Mike returns to pick up the narrator, this time driving wildly, and the narrator realizes that Mike gave up drinking, not smoking, and that the crazy drive was the first time he rode with Mike while he was sober. The narrator tells Mike that he should find something else to give up, Mike has a drink, and then they slowly drive back to Dublin.
While going into the Royal Hibernian, the narrator meets a beggar and her child. He is shocked to find that they are the same ones he saw many years ago in a previous trip to Dublin, and asks the doorman about them. Nick, the doorman, says that they have been there for many years. The vision of the two plagues the narrator, and he wanders around Dublin looking for them. He finally runs into the woman around a corner, and she takes off running. He loses them and decides to go into The Four Provinces, where he finds them. He talks with the babe, who he learns is forty years old and called Brat, and the "mother" is his sister. They have been begging in front of the Hibernian for thirty years, and the rest of their family before that. Brat has no explanation for his small size, and says that they will soon have enough to sail to New York and no longer have to beg.
The narrator receives a cable that he had won an award from the National Institute of Arts and Letters of $5,000. He shares it with Ricki, John, and Jake Vickers. John insists that he find a way to spend it and earn more rather than let it rot. Then John brings up homosexuality, but unlike John and Jake the narrator has nothing to share on the topic. The subject returns to the prize money, and the narrator continues to refuse to go spend the money, and the two other men call him a coward. This takes a way the meaning from the prize and the money, and the narrator announces that he will bet all of the money at a horse race. Ricki had been quietly encouraging him through all of this, and they go out to the porch, where she reads him the letter again and the meaning returns. Nothing more is said of the prize or the money.
The narrator has a nightmare where John comes to his door in a wetsuit and says he will teach him to snorkel. The narrator goes after John tells him not to be yellow, and he drowns. Finn wakes the narrator, who was sleeping in the pub. He tells him a story of a visit that George Bernard Shaw made to the pub. He put up signs in the pub reading "Stop," "Consider," "Think," and "Do." This brought about silence in the pub for the first time in twenty years, and Father O'Malley has a conversation with Shaw about the philosophy of the words, and eventually has them all taken down. Shaw sees his mistake and breaks them all in his bag before leaving.
John tells two reporters that he doesn't think the narrator's heart is really in the writing of the screenplay. As quite the opposite is true, the narrator is devastated, while John insists that it was only a joke. The narrator then goes and writes a short story. In this story, he goes to bring John the latest progress on the script. John reads each page and lets it fall, and at the end proclaims it good. They hear sounds outside, and John says it is a banshee, which appears an hour before someone's death. He then reads a review of the narrator's work, which turns out to be very bad. He throws it in the fire and says that it was actually a good review that he embellished a bit. They then discuss the sound of a banshee outside, and the narrator eventually goes out though John tries to stop him. He finds a woman that describes John but calls him Joe, and says that he is nobody's friend and does not really love. The narrator comes back in, and talks to John about the review, and then the banshee outside. John goes out though the narrator tries to stop him, and the narrator goes to bed. The narrator gives the story to John and tells him not to toss the pages as he reads. He then hears John mutter that there will be no more jokes.
A very odd group arrives at the Royal Hibernian, led by a man named David Snell-Orkney, and come from Sicily. They become the talk of the town very quickly, and the pub patrons decide to surround the park in which the group is. After a half an hour, the group was still just sitting there watching the trees, and the few that actually stayed gave up on the watch. Timulty enters the pub declares that the Sicilians are very similar to the Irish, which the people in the pub are very opposed to at first but come to realize is true. Then the group comes in the pub, and says that they have been following summer around the globe and decided to stop by for some winter in Dublin. They had been looking at the leaves fall off the trees in the snow and ice. The Irishmen of the pub realize that they have not noticed the trees in decades, and they all go out to look at the leaves. Father Leary takes the group to his church, and later Finn convinces them to come see a "sprint."
The Irish explain to the narrator and the Snell-Orkney group the anthem sprint. After a show in the cinema, the national anthem of Ireland is played. The moviegoers make a sport to see who can get out of the theater first after the movie before the anthem begins. Doone and Hoolihan decide to have an anthem run. All of the rules are explained, and after the movie, Hoolihan rushes out, but Doone does not. They find him still in the theater, where he was overcome by the singing of Deanna Durbin, which reminded him of his dead grandmother. They have the end of the film run again to redo the anthem sprint, but as the end approaches, Doone realizes that his leg is dead. He gives his cap and scarf to the narrator and tells him to run in his place. The narrator does so, but finds that he is the only one that ran. The rest are still in the theater, and then they wall watch again.
Snell-Orkney and his friends all sail away singing. The narrator is at dinner, talking a lot with John, Jake, and friends. He makes jokes about everyone he can, evoking laughter from everyone present. He "hypnotizes" John, and tells him that it is not that the narrator that fears flying, but that John fears sailing. Later, John tells him that he needs to fly to England. The narrator says that he is scared to death and will not go, and John threatens to take both his vacation and that of their secretary. The narrator refuses and says that everyone will get their vacation, he will take the ferry, and John will fly. John leaves the room quickly, and refuses to talk to the narrator for a day and a half. Jake tells him that it is just a joke and that if he doesn't act upset about it that John will let it go.
The narrator awakes at seven, convinces himself that he is Herman Melville, and writes into the afternoon, finishing the script. He takes it to John, who is impressed, and says that he should take the ferry to England. The narrator tells the people in Finn's pub what he's found out about Ireland and says goodbye to them, and as he leaves, he sees the hills as green.



 Cover of a paperback reprint edition
Literary significance and criticism[edit]
Green Shadows, White Whale received mixed reviews at its debut. Some critics gave the work high praise: Publishers Weekly said it was a "lighthearted, beguiling autobiographical novel", concluding, "Bradbury's prose is as vibrant and distinctive as the landscape in which these delightful tales are set." Kirkus Reviews called it "Bradbury's triumph. He has never written better."
Others found it to fall short because of its stilted diction and stereotypical characters and plots. The New York Times found it "Somewhere between homage and hokum … a cartoon that might be offensive if it weren't so affectionate."[1] The Los Angeles Times said it was "a charming, delicate story" of Bradbury's memories, and what they mean to him, "and if at times the words seem hushed, muted in their reverence for history, the cast of characters … keeps the story from sliding headlong into wistfulness."[2] David Soyka of the SF Site labeled the novel as a "disappointment" because of its clichéd plots and lack of coherency of the stories' themes.[3] The Chicago Tribune criticized Bradbury's "tin ear" for dialogue, complaining that "All of his Irish characters talk like Barry Fitzgerald reciting Sean O'Casey to a busload of tourists from Tulsa."[4]
Footnotes[edit]
1.Jump up ^ Review by Peter Finn, 26 July 1992, Section 7.
2.Jump up ^ Book Section, 7 June 1992.
3.Jump up ^ Soyka, David (1999). "The SF Site Featured Review: Green Shadows, White Whale."
4.Jump up ^ Review by Thomas Flanagan, 31 May 1992, Books Section.
References[edit]
Brown, Charles N.; William G. Contento. "The Locus Index to Science Fiction (1984-1998)". Retrieved 2007-12-13.
External links[edit]
Green Shadows, White Whale title listing at the Internet Speculative Fiction Database


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The Old Man and the Sea (1999 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Old Man and the Sea
The Old Man and the Sea.jpg
screenshot

Directed by
Aleksandr Petrov
Produced by
Bernard Lajoie
Tatsuo Shimamura
Screenplay by
Aleksandr Petrov
Based on
The Old Man and the Sea
 by Ernest Hemingway
Music by
Denis L. Chartrand
Normand Roger
Edited by
Denis Papillon

Release dates
 1999

Running time
 20 minutes
Country
Canada
 Japan
 Russia
Language
English
 French
The Old Man and the Sea (Старик и море) is a 1999 paint-on-glass-animated short film directed by Aleksandr Petrov, based on the novel of the same name by Ernest Hemingway. The film won many awards, including the Academy Award for Animated Short Film. Work on the film took place in Montreal over a period of two and a half years and was funded by an assortment of Canadian, Russian and Japanese companies. French and English-language soundtracks to the film were released concurrently. It was the first animated film to be released in IMAX.


Contents  [hide]
1 Plot
2 Creators
3 History and technique
4 Artistic style
5 Awards
6 DVD releases
7 See also
8 Further reading
9 External links

Plot[edit]
The film follows the plot of the original novel, but at times emphasizes different points.
It opens with the dream sequence of an old man named Santiago, who dreams about his childhood on the masts of a ship and lions on the shores.
When he wakes up, we find out that he has gone 84 days without catching any fish at all. He is apparently so unlucky that his young apprentice, Manolin, has been forbidden by his parents to sail with the old man and been ordered to fish with more successful fishermen. Still dedicated to the old man, however, the boy visits Santiago's shack in the morning. The next day, before sunrise, Santiago and Manolin make their way to the seashore. Santiago says that he will venture far out into the Gulf to fish. Manolin wants to come, but Santiago insists on going alone.
After venturing far out, Santiago sets his lines and soon catches a small fish which he decides to use as bait. A big fish that he is sure is a marlin takes his bait. Unable to pull in the great marlin, Santiago instead finds the fish pulling his skiff. An unspecified number of days pass in this manner, during which the old man bears the tension of the line with his body. On one night, Santiago dreams of his youth, of how he won an arm wrestling match against the strongest black man in town. On another night, though he is wounded by the struggle and in pain, Santiago dreams that he and the marlin are brothers, swimming through the ocean together. An extended fantasy sequence is animated here by Petrov. Suddenly, he is woken up; the marlin tries to take advantage of the situation and escape. As the fish jumps out of the water, the old man sees for the first time just how big it is.
Eventually, the fish begins to circle the skiff, indicating his tiredness to the old man. With each circle, Santiago tries to pull it in a little closer. As the fish swims under the boat, Santiago manages to stab the marlin with a harpoon, thereby ending the long battle.
Santiago straps the marlin to his skiff and heads home, triumphant. However, in a short while, sharks are attracted to the trail of blood left by the marlin in the water. Santiago kills one with his harpoon, losing that weapon in the process. He makes a new harpoon by strapping his knife to the end of an oar to help ward off the next line of sharks and manages to kill a few more. Soon, however, the sharks have devoured the marlin's entire carcass, leaving only its skeleton. The old man castigates himself for sacrificing the marlin.
The next morning, a group of fishermen gathers around the boat where the fish's skeleton is still attached. Manolin, worried during the old man's endeavor, brings him food and drink and finds the old man lying in his cabin. When he wakes, he tells him that they had boats searching for him and that his parents allowed him to fish together once again.
Creators[edit]
Director Aleksandr Petrov
Scenario Aleksandr Petrov
Animators Aleksandr Petrov
Dmitri Petrov
Video operator Thierry Fargeau
Producer Bernard Lajoie
Tatsuo Shimamura
Executive producers Jean-Yves Martel
Shizuo Ohashi
Composers Denis L. Chartrand
Normand Roger
Voice actors Gordon Pinsent (English)
Kevin Delaye (English)
Yoji Matsuda (Japanese)
Rentarō Mikuni (Japanese)
Editors Denis Papillon
History and technique[edit]



 A screen capture of the film
The project was initiated in 1995 after Petrov (who had made his first films in Russia) had his first meeting with Pascal Blais Studio, a Canadian animation studio. The film was partially funded by and was made at their studio. Other funding came from Imagica Corporation, Dentsu Tec and NHK from Japan, and Panorama studio from Yaroslavl, Russia (of which Aleksandr Petrov is the head).
Work on the film began in March 1997. It took Aleksandr Petrov and his son Dmitri Petrov (who helped his father) until April 1999 to paint each of the 29,000+ frames. The film's technique, pastel oil paintings on glass, is mastered by only a handful of animators in the world. Petrov used his fingertips in addition to various paintbrushes to paint on different glass sheets positioned on multiple levels, each covered with slow-drying oil paints. After photographing each frame painted on the glass sheets, which was four times larger than the usual A4-sized canvas, he had to slightly modify the painting for the next frame and so on. For the shooting of the frames a special adapted motion-control camera system was built, probably the most precise computerized animation stand ever made. On this an IMAX camera was mounted, and a video-assist camera was then attached to the IMAX camera.
Artistic style[edit]
The film's style is analogous to that used in Petrov's other films and can be characterized as a type of Romantic realism. People, animals and landscapes are painted and animated in a very realistic fashion, but there are sections where Petrov attempts to visually show a character's inner thoughts and dreams. For example, the film contains a scene where the fisherman dreams that he and the marlin are brothers swimming through the sea and the sky.
Awards[edit]
1999 - Cinanima: "Grand Prize"
1999 - Japan Media Arts Festival: "Grand Prize" (Animation)
1999 - Montréal World Film Festival: Nominated for "First Prize (Short Films)"
2000 - Academy Award for Animated Short Film
2000 - Annecy International Animated Film Festival: "Audience Award", "Grand Prix for Best Animated Short Film"
2000 - BAFTA Awards: Nominated for "Best Animated Short Film"
2000 - Buster International Children's Film Festival: "Politiken's Short Film Award"
2000 - Genie Awards: Nominated for "Best Animated Short Film"
2000 - Jutra Awards: "Jutra" in the category "Best Animated Film"
2000 - Mainichi Film Concours: "Ofuji Noburo Award"
2000 - Saint Petersburg Message to Man International Film Festival: "Special Jury Prize" in the category "International Competition"
2000 - Zagreb World Festival of Animated Films: "First Prize" in "Category C - 15 Min. to 30 Min."
2001 - Burbank International Children's Film Festival: "Director's Gold Award"
2001 - San Diego International Film Festival: "Festival Award" in the category "Best Animation"
DVD releases[edit]
The film is currently available on two DVD releases, English and French ("Le Vieil Homme et la mer"). Despite similar covers, their contents are actually significantly different. The one with the English cover contains both the English and French sound versions of the animated film as well as the 17-minute short film Hemingway: A Portrait directed by Eric Canuel (the two films were originally screened together at IMAX theatres).
The French DVD contains only the French-language versions of everything on the English DVD as well as Petrov's previous films: The Cow (1989), The Dream of a Ridiculous Man (1992) and The Mermaid (1997), which are 10, 20 and 10 minutes long respectively and are in their original Russian language with French subtitles. There is also a 9-minute-long "making of" film.
See also[edit]
History of Russian animation
Further reading[edit]
Olivier Cotte (2007) Secrets of Oscar-winning animation: Behind the scenes of 13 classic short animations. (Making of '"The Old Man and the Sea") Focal Press. ISBN 978-0-240-52070-4
External links[edit]
The Old Man and the Sea at the Internet Movie Database
The Old Man and the Sea at the Big Cartoon DataBase
Pascal Blais Studio - here you can see clips of Petrov's films, including this one (enter the English site, then click on "directors")
The Old Man and the Sea at the Animator.ru


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Categories: 1999 films
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The Old Man and the Sea (1999 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Old Man and the Sea
The Old Man and the Sea.jpg
screenshot

Directed by
Aleksandr Petrov
Produced by
Bernard Lajoie
Tatsuo Shimamura
Screenplay by
Aleksandr Petrov
Based on
The Old Man and the Sea
 by Ernest Hemingway
Music by
Denis L. Chartrand
Normand Roger
Edited by
Denis Papillon

Release dates
 1999

Running time
 20 minutes
Country
Canada
 Japan
 Russia
Language
English
 French
The Old Man and the Sea (Старик и море) is a 1999 paint-on-glass-animated short film directed by Aleksandr Petrov, based on the novel of the same name by Ernest Hemingway. The film won many awards, including the Academy Award for Animated Short Film. Work on the film took place in Montreal over a period of two and a half years and was funded by an assortment of Canadian, Russian and Japanese companies. French and English-language soundtracks to the film were released concurrently. It was the first animated film to be released in IMAX.


Contents  [hide]
1 Plot
2 Creators
3 History and technique
4 Artistic style
5 Awards
6 DVD releases
7 See also
8 Further reading
9 External links

Plot[edit]
The film follows the plot of the original novel, but at times emphasizes different points.
It opens with the dream sequence of an old man named Santiago, who dreams about his childhood on the masts of a ship and lions on the shores.
When he wakes up, we find out that he has gone 84 days without catching any fish at all. He is apparently so unlucky that his young apprentice, Manolin, has been forbidden by his parents to sail with the old man and been ordered to fish with more successful fishermen. Still dedicated to the old man, however, the boy visits Santiago's shack in the morning. The next day, before sunrise, Santiago and Manolin make their way to the seashore. Santiago says that he will venture far out into the Gulf to fish. Manolin wants to come, but Santiago insists on going alone.
After venturing far out, Santiago sets his lines and soon catches a small fish which he decides to use as bait. A big fish that he is sure is a marlin takes his bait. Unable to pull in the great marlin, Santiago instead finds the fish pulling his skiff. An unspecified number of days pass in this manner, during which the old man bears the tension of the line with his body. On one night, Santiago dreams of his youth, of how he won an arm wrestling match against the strongest black man in town. On another night, though he is wounded by the struggle and in pain, Santiago dreams that he and the marlin are brothers, swimming through the ocean together. An extended fantasy sequence is animated here by Petrov. Suddenly, he is woken up; the marlin tries to take advantage of the situation and escape. As the fish jumps out of the water, the old man sees for the first time just how big it is.
Eventually, the fish begins to circle the skiff, indicating his tiredness to the old man. With each circle, Santiago tries to pull it in a little closer. As the fish swims under the boat, Santiago manages to stab the marlin with a harpoon, thereby ending the long battle.
Santiago straps the marlin to his skiff and heads home, triumphant. However, in a short while, sharks are attracted to the trail of blood left by the marlin in the water. Santiago kills one with his harpoon, losing that weapon in the process. He makes a new harpoon by strapping his knife to the end of an oar to help ward off the next line of sharks and manages to kill a few more. Soon, however, the sharks have devoured the marlin's entire carcass, leaving only its skeleton. The old man castigates himself for sacrificing the marlin.
The next morning, a group of fishermen gathers around the boat where the fish's skeleton is still attached. Manolin, worried during the old man's endeavor, brings him food and drink and finds the old man lying in his cabin. When he wakes, he tells him that they had boats searching for him and that his parents allowed him to fish together once again.
Creators[edit]
Director Aleksandr Petrov
Scenario Aleksandr Petrov
Animators Aleksandr Petrov
Dmitri Petrov
Video operator Thierry Fargeau
Producer Bernard Lajoie
Tatsuo Shimamura
Executive producers Jean-Yves Martel
Shizuo Ohashi
Composers Denis L. Chartrand
Normand Roger
Voice actors Gordon Pinsent (English)
Kevin Delaye (English)
Yoji Matsuda (Japanese)
Rentarō Mikuni (Japanese)
Editors Denis Papillon
History and technique[edit]



 A screen capture of the film
The project was initiated in 1995 after Petrov (who had made his first films in Russia) had his first meeting with Pascal Blais Studio, a Canadian animation studio. The film was partially funded by and was made at their studio. Other funding came from Imagica Corporation, Dentsu Tec and NHK from Japan, and Panorama studio from Yaroslavl, Russia (of which Aleksandr Petrov is the head).
Work on the film began in March 1997. It took Aleksandr Petrov and his son Dmitri Petrov (who helped his father) until April 1999 to paint each of the 29,000+ frames. The film's technique, pastel oil paintings on glass, is mastered by only a handful of animators in the world. Petrov used his fingertips in addition to various paintbrushes to paint on different glass sheets positioned on multiple levels, each covered with slow-drying oil paints. After photographing each frame painted on the glass sheets, which was four times larger than the usual A4-sized canvas, he had to slightly modify the painting for the next frame and so on. For the shooting of the frames a special adapted motion-control camera system was built, probably the most precise computerized animation stand ever made. On this an IMAX camera was mounted, and a video-assist camera was then attached to the IMAX camera.
Artistic style[edit]
The film's style is analogous to that used in Petrov's other films and can be characterized as a type of Romantic realism. People, animals and landscapes are painted and animated in a very realistic fashion, but there are sections where Petrov attempts to visually show a character's inner thoughts and dreams. For example, the film contains a scene where the fisherman dreams that he and the marlin are brothers swimming through the sea and the sky.
Awards[edit]
1999 - Cinanima: "Grand Prize"
1999 - Japan Media Arts Festival: "Grand Prize" (Animation)
1999 - Montréal World Film Festival: Nominated for "First Prize (Short Films)"
2000 - Academy Award for Animated Short Film
2000 - Annecy International Animated Film Festival: "Audience Award", "Grand Prix for Best Animated Short Film"
2000 - BAFTA Awards: Nominated for "Best Animated Short Film"
2000 - Buster International Children's Film Festival: "Politiken's Short Film Award"
2000 - Genie Awards: Nominated for "Best Animated Short Film"
2000 - Jutra Awards: "Jutra" in the category "Best Animated Film"
2000 - Mainichi Film Concours: "Ofuji Noburo Award"
2000 - Saint Petersburg Message to Man International Film Festival: "Special Jury Prize" in the category "International Competition"
2000 - Zagreb World Festival of Animated Films: "First Prize" in "Category C - 15 Min. to 30 Min."
2001 - Burbank International Children's Film Festival: "Director's Gold Award"
2001 - San Diego International Film Festival: "Festival Award" in the category "Best Animation"
DVD releases[edit]
The film is currently available on two DVD releases, English and French ("Le Vieil Homme et la mer"). Despite similar covers, their contents are actually significantly different. The one with the English cover contains both the English and French sound versions of the animated film as well as the 17-minute short film Hemingway: A Portrait directed by Eric Canuel (the two films were originally screened together at IMAX theatres).
The French DVD contains only the French-language versions of everything on the English DVD as well as Petrov's previous films: The Cow (1989), The Dream of a Ridiculous Man (1992) and The Mermaid (1997), which are 10, 20 and 10 minutes long respectively and are in their original Russian language with French subtitles. There is also a 9-minute-long "making of" film.
See also[edit]
History of Russian animation
Further reading[edit]
Olivier Cotte (2007) Secrets of Oscar-winning animation: Behind the scenes of 13 classic short animations. (Making of '"The Old Man and the Sea") Focal Press. ISBN 978-0-240-52070-4
External links[edit]
The Old Man and the Sea at the Internet Movie Database
The Old Man and the Sea at the Big Cartoon DataBase
Pascal Blais Studio - here you can see clips of Petrov's films, including this one (enter the English site, then click on "directors")
The Old Man and the Sea at the Animator.ru


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The Old Man and the Sea (miniseries)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2012)

The Old Man and the Sea

Genre
Television Film
Created by
Ernest Hemingway
Directed by
Jud Taylor
Produced by
Norman Foster
 Robert E Fuisz
 Brian Harris
 Keith Richardson
 William F. Stroke
Written by
Roger O. Hirson
Starring
Anthony Quinn
Gary Cole
Patricia Clarkson
Alexis Cruz
Music by
Bruce Broughton
Editing by
Fredric Steinkamp
Country
United States
Language
English
Original airing
March 25, 1990
Running time
93 min.
The Old Man and the Sea is a 1990 television miniseries based on the novel The Old Man and the Sea by Ernest Hemingway. The film was nominated for three Emmy Awards for Outstanding Achievement in Music for a Miniseries or a Special (Dramatic Underscore), Outstanding Sound Editing for a Miniseries for a Special, and Outstanding Sound Mixing for a Drama Miniseries or Special. Stephen Grubbs also won the Motion Picture Sound Editors Golden Reel Award for Best Sound Editing in Television Long Form - Dialogue & ADR
Characters[edit]
Santiago, Anthony Quinn and Francesco Quinn,
Anderez, Paul Calderon,
Mary Pruitt, Patricia Clarkson,
Gomez, Manuel Santiago,
Maria, Sully Diaz,
Manolo, Alexis Cruz
Angela, Valentina Quinn
Lopez, Joe Santos
Tom Pruitt, Gary Cole
Release[edit]
The DVD for Region 1 was released on January 29, 2002 by Lance Entertainment. A Region 2 DVD was released on January 15, 2007 by Granada Television.
External links[edit]
The Old and the Sea at the Internet Movie Database


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The Old Man and the Sea (miniseries)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Question book-new.svg
 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2012)

The Old Man and the Sea

Genre
Television Film
Created by
Ernest Hemingway
Directed by
Jud Taylor
Produced by
Norman Foster
 Robert E Fuisz
 Brian Harris
 Keith Richardson
 William F. Stroke
Written by
Roger O. Hirson
Starring
Anthony Quinn
Gary Cole
Patricia Clarkson
Alexis Cruz
Music by
Bruce Broughton
Editing by
Fredric Steinkamp
Country
United States
Language
English
Original airing
March 25, 1990
Running time
93 min.
The Old Man and the Sea is a 1990 television miniseries based on the novel The Old Man and the Sea by Ernest Hemingway. The film was nominated for three Emmy Awards for Outstanding Achievement in Music for a Miniseries or a Special (Dramatic Underscore), Outstanding Sound Editing for a Miniseries for a Special, and Outstanding Sound Mixing for a Drama Miniseries or Special. Stephen Grubbs also won the Motion Picture Sound Editors Golden Reel Award for Best Sound Editing in Television Long Form - Dialogue & ADR
Characters[edit]
Santiago, Anthony Quinn and Francesco Quinn,
Anderez, Paul Calderon,
Mary Pruitt, Patricia Clarkson,
Gomez, Manuel Santiago,
Maria, Sully Diaz,
Manolo, Alexis Cruz
Angela, Valentina Quinn
Lopez, Joe Santos
Tom Pruitt, Gary Cole
Release[edit]
The DVD for Region 1 was released on January 29, 2002 by Lance Entertainment. A Region 2 DVD was released on January 15, 2007 by Granada Television.
External links[edit]
The Old and the Sea at the Internet Movie Database


[hide]
v ·
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Ernest Hemingway's The Old Man and the Sea


1958 film ·
 Miniseries ·
 1999 film
 

See also: ·
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1990 television films
American television films
Films based on works by Ernest Hemingway
American television miniseries





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The Old Man and the Sea (1958 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Old Man and the Sea
The Old Man and the Sea (1958 film).jpg
Directed by
John Sturges
Henry King
Fred Zinnemann (Uncredited)
Produced by
Leland Hayward
Written by
Peter Viertel
Based on
The Old Man and the Sea
 by Ernest Hemingway
Starring
Spencer Tracy
Narrated by
Spencer Tracy[1]
Music by
Dimitri Tiomkin
Cinematography
James Wong Howe
 Add'l photography: Floyd Crosby, Tom Tutwiler
Underwater photography: Lamar Boren[2]
Edited by
Arthur P. Schmidt,
 Folmar Blangsted
Distributed by
Warner Bros.

Running time
 86 minutes[3]
Country
United States
Language
English
Budget
$5 million[4]
The Old Man and the Sea is a Warnercolor 1958 film starring Spencer Tracy, in a portrayal for which he was nominated for a best actor Oscar. The screenplay (the "most literal, word-for-word rendition of a written story ever filmed"[1]) was adapted by Peter Viertel from the novella of the same name by Ernest Hemingway, and the film was directed by John Sturges. Sturges called it "technically the sloppiest picture I have ever made."[4]
Dimitri Tiomkin won the Academy Award for Best Original Score for his work on the film, one that was also nominated for best color cinematography.


Contents  [hide]
1 Plot summary
2 Cast
3 Production
4 Music
5 Reception
6 References
7 External links

Plot summary[edit]
[icon] This section requires expansion. (February 2011)
Spencer Tracy is the Old Man, a Cuban fisherman who tries to haul in a huge fish that he catches far from shore.[5] He has gone 84 days without a catch - his only friend, a young boy (Felipe Pazos), is barred by his father from accompanying him to sea. On the 85th day the old man hooks a huge marlin. For three days and nights he battles the fish as a trial of mental and physical courage—and the ultimate test of his worth as a man.
Cast[edit]
In addition to Tracy, the cast included the following:
Felipe Pazos Jr., the boy
Harry Bellaver, Martin
Don Diamond, café proprietor
Don Blackman, arm wrestler
Joey Ray, gambler
Mary Hemingway, tourist
Richard Alameda, gambler
Tony Rosa, gambler
Carlos Rivero, gambler
Robert Alderette, gambler
Mauritz Hugo, gambler
Ernest Hemingway, tourist in café [cameo]
Production[edit]
Fred Zinnemann was the film's original director; after he withdrew, he was replaced by John Sturges.[4] The film's budget—originally $2 million— grew to $5 million "in search of suitable fish footage."[4] According to Turner Classic Movies, a February 2005 CNN article points out that The Old Man and the Sea 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."[1]
The credits note that "Some of the marlin film used in this picture was of the world's record catch by Alfred C. Glassell, Jr. at the Cabo Blanco Fishing Club in Peru. Mr. Glassell acted as special advisor for these sequences."[1][6]
Felipe Pazos Jr., who played the role of the boy in the film, is the son of the Cuban economist and revolutionary, Felipe Pazos.
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 Post No. 43, American Legion, in Hollywood; "The Billboard" reported that the acoustics in the Hollywood Legion were "far superior to most studio space in Hollywood and similar to that of the best concert halls." During the week of April 21, 1958, Columbia held open sessions for "The Old Man and the Sea" at the Legion Hall. The soundtrack was later released in both stereo and mono by Columbia Records.
Reception[edit]
Bosley Crowther of The New York Times wrote:[3]

Credit Leland Hayward for trying something off the beaten track in making a motion-picture version of Ernest Hemingway's The Old Man and the Sea, and credit Spencer Tracy for a brave performance in its one big role. Also 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 about completes a run-down of the praiseworthy aspects of this film.
Among the film's short-comings, 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 obviously were shot in a studio tank. There are, to be sure, some lovely long shots of Cuban villages and the colorful coast...But 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 battle are deflated by obvious showing on the process screen."[3]
Time noted that "the script follows the book in almost every detail" and called the novel a fable "no more suitable for the screen than The Love Song of J. Alfred Prufrock"; Tracy was "never permitted to catch a marlin" while on location, so the "camera could never catch him at it" and the result is "Sturges must cross-cut so interminably—fish, Tracy, fish, Tracy—that Old Man loses the lifelikeness, the excitement, and above all the generosity of rhythm that the theme requires.[4]
Hemingway was pleased with the film. According to Leland Hayward, the film's producer, Hemingway said it had "a wonderful emotional quality and [he] is very grateful and pleased with the transference of his material to the screen. He thought Tracy was great (in light of his quarrels with him this is quite a compliment) ... the photography was excellent ... the handling of the fishing and mechanical fish very good. Had some minor dislikes ... but all in all he was terribly high on the picture and pleased with it."[7]
References[edit]
1.^ Jump up to: a b c d "Notes for The Old Man and the Sea (1958)". Turner Classic Movies. Retrieved 2010-01-17.
2.Jump up ^ "Full Credits for The Old Man and the Sea (1958)". Turner Classic Movies. Retrieved 2010-01-17.
3.^ Jump up to: a b c Bosley Crowther (October 8, 1958). "Old Man and the Sea Stars Spencer Tracy". The New York Times. Retrieved 2010-01-17.
4.^ Jump up to: a b c d e "Cinema: Two with Tracy". Time. October 27, 1958. Retrieved 2010-01-17.
5.Jump up ^ "The Old Man and the Sea - Cast, Reviews, Summary, and Awards - AllRovi". Allmovie.com. 2011-09-08. Retrieved 2011-09-21.
6.Jump up ^ Adele Conover (April 2000). "The Biggest One That Didn't Get Away". Smithsonian. Retrieved 2010-01-17.
7.Jump up ^ 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 Collection, University of Southern California."
External links[edit]
The Old Man and the Sea at the Internet Movie Database
The Old Man and the Sea at Rotten Tomatoes
The Old Man and the Sea at AllMovie
The Old Man and the Sea at the TCM Movie Database
The Old Man and the Sea at the American Film Institute Catalog
Don Blackman at the Internet Movie Database


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The Old Man and the Sea (1958 film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


The Old Man and the Sea
The Old Man and the Sea (1958 film).jpg
Directed by
John Sturges
Henry King
Fred Zinnemann (Uncredited)
Produced by
Leland Hayward
Written by
Peter Viertel
Based on
The Old Man and the Sea
 by Ernest Hemingway
Starring
Spencer Tracy
Narrated by
Spencer Tracy[1]
Music by
Dimitri Tiomkin
Cinematography
James Wong Howe
 Add'l photography: Floyd Crosby, Tom Tutwiler
Underwater photography: Lamar Boren[2]
Edited by
Arthur P. Schmidt,
 Folmar Blangsted
Distributed by
Warner Bros.

Running time
 86 minutes[3]
Country
United States
Language
English
Budget
$5 million[4]
The Old Man and the Sea is a Warnercolor 1958 film starring Spencer Tracy, in a portrayal for which he was nominated for a best actor Oscar. The screenplay (the "most literal, word-for-word rendition of a written story ever filmed"[1]) was adapted by Peter Viertel from the novella of the same name by Ernest Hemingway, and the film was directed by John Sturges. Sturges called it "technically the sloppiest picture I have ever made."[4]
Dimitri Tiomkin won the Academy Award for Best Original Score for his work on the film, one that was also nominated for best color cinematography.


Contents  [hide]
1 Plot summary
2 Cast
3 Production
4 Music
5 Reception
6 References
7 External links

Plot summary[edit]
[icon] This section requires expansion. (February 2011)
Spencer Tracy is the Old Man, a Cuban fisherman who tries to haul in a huge fish that he catches far from shore.[5] He has gone 84 days without a catch - his only friend, a young boy (Felipe Pazos), is barred by his father from accompanying him to sea. On the 85th day the old man hooks a huge marlin. For three days and nights he battles the fish as a trial of mental and physical courage—and the ultimate test of his worth as a man.
Cast[edit]
In addition to Tracy, the cast included the following:
Felipe Pazos Jr., the boy
Harry Bellaver, Martin
Don Diamond, café proprietor
Don Blackman, arm wrestler
Joey Ray, gambler
Mary Hemingway, tourist
Richard Alameda, gambler
Tony Rosa, gambler
Carlos Rivero, gambler
Robert Alderette, gambler
Mauritz Hugo, gambler
Ernest Hemingway, tourist in café [cameo]
Production[edit]
Fred Zinnemann was the film's original director; after he withdrew, he was replaced by John Sturges.[4] The film's budget—originally $2 million— grew to $5 million "in search of suitable fish footage."[4] According to Turner Classic Movies, a February 2005 CNN article points out that The Old Man and the Sea 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."[1]
The credits note that "Some of the marlin film used in this picture was of the world's record catch by Alfred C. Glassell, Jr. at the Cabo Blanco Fishing Club in Peru. Mr. Glassell acted as special advisor for these sequences."[1][6]
Felipe Pazos Jr., who played the role of the boy in the film, is the son of the Cuban economist and revolutionary, Felipe Pazos.
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 Post No. 43, American Legion, in Hollywood; "The Billboard" reported that the acoustics in the Hollywood Legion were "far superior to most studio space in Hollywood and similar to that of the best concert halls." During the week of April 21, 1958, Columbia held open sessions for "The Old Man and the Sea" at the Legion Hall. The soundtrack was later released in both stereo and mono by Columbia Records.
Reception[edit]
Bosley Crowther of The New York Times wrote:[3]

Credit Leland Hayward for trying something off the beaten track in making a motion-picture version of Ernest Hemingway's The Old Man and the Sea, and credit Spencer Tracy for a brave performance in its one big role. Also 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 about completes a run-down of the praiseworthy aspects of this film.
Among the film's short-comings, 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 obviously were shot in a studio tank. There are, to be sure, some lovely long shots of Cuban villages and the colorful coast...But 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 battle are deflated by obvious showing on the process screen."[3]
Time noted that "the script follows the book in almost every detail" and called the novel a fable "no more suitable for the screen than The Love Song of J. Alfred Prufrock"; Tracy was "never permitted to catch a marlin" while on location, so the "camera could never catch him at it" and the result is "Sturges must cross-cut so interminably—fish, Tracy, fish, Tracy—that Old Man loses the lifelikeness, the excitement, and above all the generosity of rhythm that the theme requires.[4]
Hemingway was pleased with the film. According to Leland Hayward, the film's producer, Hemingway said it had "a wonderful emotional quality and [he] is very grateful and pleased with the transference of his material to the screen. He thought Tracy was great (in light of his quarrels with him this is quite a compliment) ... the photography was excellent ... the handling of the fishing and mechanical fish very good. Had some minor dislikes ... but all in all he was terribly high on the picture and pleased with it."[7]
References[edit]
1.^ Jump up to: a b c d "Notes for The Old Man and the Sea (1958)". Turner Classic Movies. Retrieved 2010-01-17.
2.Jump up ^ "Full Credits for The Old Man and the Sea (1958)". Turner Classic Movies. Retrieved 2010-01-17.
3.^ Jump up to: a b c Bosley Crowther (October 8, 1958). "Old Man and the Sea Stars Spencer Tracy". The New York Times. Retrieved 2010-01-17.
4.^ Jump up to: a b c d e "Cinema: Two with Tracy". Time. October 27, 1958. Retrieved 2010-01-17.
5.Jump up ^ "The Old Man and the Sea - Cast, Reviews, Summary, and Awards - AllRovi". Allmovie.com. 2011-09-08. Retrieved 2011-09-21.
6.Jump up ^ Adele Conover (April 2000). "The Biggest One That Didn't Get Away". Smithsonian. Retrieved 2010-01-17.
7.Jump up ^ 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 Collection, University of Southern California."
External links[edit]
The Old Man and the Sea at the Internet Movie Database
The Old Man and the Sea at Rotten Tomatoes
The Old Man and the Sea at AllMovie
The Old Man and the Sea at the TCM Movie Database
The Old Man and the Sea at the American Film Institute Catalog
Don Blackman at the Internet Movie Database


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Categories: English-language films
1958 films
1950s drama films
American drama films
Films that won the Best Original Score Academy Award
Films about fishing
Films based on works by Ernest Hemingway
Films directed by Fred Zinnemann
Films directed by John Sturges
Films set in Cuba
Films set in the Caribbean
Films shot in Cuba
Films shot in Ecuador
Films shot in Peru
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