You can tell within seconds that John Huston‘s Moby Dick understands the look and culture of mid 19th Century New England, and that you’re in the company of seasoned actors and a sturdy script. I’ve been a fool for this film for years, largely due to my love for Oswald Morris‘s desaturated half-color, half black-and-white scheme, achieved by the blending of a color and a monochrome negative in post.

July 11, 2009by Jeffrey Wells16 Comments