Last night the Stupor collective teamed up to watch the excellent but bleak and harrowing “The Mist”. A very well made, gritty film that could be loosely categorised as horror with a pinch of Sci-Fi. Adapted from Stephen King’s short story by director Frank Darabont, this quality movie seems to have gone rather unnoticed by most, even it’s target audience and not least by two thirds of that evenings audience (Gazz and myself).
The only reason it came to my attention, I now recall, was because it was mentioned in a podcast I listened to over my Christmas break of the BBC’s flagship film review show (the Wittertaining Kermode and Mayo’s Film Review Show in fact). They interviewed one of the stars, one Toby Jones (ironically, the guy who’s name I couldn’t remember during the showing). “The Mist” was a remarked on by Mr Jones and the interviewing Mark Kermode as a top draw, having an ending the director had to fight the studio tooth & nail to keep and being originally planned to be released in in black-and-white.
It would appear these three things stuck with me as I spontaneously quizzed this parish’s Mr Holmes on the movie this Monday and mentioned the other two facts during our discussion. He confirmed the veracity of the comments on both quality and ending, and took to investigating the black-and-white point further.
On arriving at my house with his DVD in hand (yes, of course I had to watch it as soon as possible) he confirmed that, from his research, the movie was “even better” in black-and-white, with the effects looking “nicer and less plasticy” too. With this in mind we sat down to watch the movie but, as Neil DVD didn’t have the “Special Edition” black and white edition on it, we unanimously decided to turn the saturation down to zero. Simultaneously turning the 47” HD panel into a monochrome set and allowing us to watch the movie the way the director intended.
125 minutes later and we’d witnessed a revelation. Not only was I sat there completely aghast at the beyond-brutal ending but seeing this film in shades of grey really added something. As reported, the special FX looked darn good (in a kind of fun but horrifying way) and, most surprisingly, the picture quality looked comparable with a decent BluRay transfer. The best bit, however, was how the whole thing felt. It was absolutely wonderful. If anything it seemed almost more real and only on a couple of occasions did I even realise we were watching in black and white. We were all very impressed, so much so that we agreed with Gazz when he voiced the opinion that we should watch future horror films with the colour removed too.
So, there you have it, revelation shared!! Go watch things in black-and-white, people. Just give it a go and see what you think…
Sure it won’t work for everything but anything that’s intimately filmed and has a good story won’t suffer and, if anything, may be improved by a manual decolourisation.
As an aside, it also served as quite a good counterpoint to the current 2D (twoD) verses 3D (threeD) debate too. At no point did I wish it was in threeD and, yes, there were quite enough frames per second for me too. This completely confirmed what I guess we already know; attach all the bells and whistles you want, you can’t beat having a good, well written story and, if you don’t have that, then the rest is just meaningless, superfluous fluff.