George Miller | 120 mins | Blu-ray | 2.40:1 | Australia & USA / English | 15 / R
During post-production on Mad Max 2, aka The Road Warrior, director George Miller had a chance to watch composer Brian May (not that one) at work. As was standard practice, May was working with a ‘slash dupe’ copy of the film — a cheaply-produced duplicate print, which has the defining characteristic of being in black and white. Miller was instantly smitten, believing this was the best-looking version of his film. 30-something years later, during post-production on the fourth Max movie, Fury Road, Miller had the film’s colourist convert some scenes into black and white, and he once again discovered his preferred version. Only this time he mentioned it publicly and promised it would be released, which is more or less how, about 18 months after the film’s theatrical release, we ended up getting the so-called Black & Chrome Edition on Blu-ray. It finally makes its way to UK shores today… though only in a Zavvi-exclusive Steelbook edition, which has both already sold out and was dispatched to purchasers (like me!) last week. So, uh, so much for that.
Let’s start by getting some people’s obvious complaint out of the way: “Why do you need to buy it again? Why not just turn down the colour on your TV?” Well, you could, and you’d get an approximation of the effect; but if you have an appreciation for the fine details of film photography and colouring, that doesn’t cut it. The Black & Chrome version isn’t just the existing colour turned off — other things have been tweaked to heighten the experience, most obviously the contrast. Here’s a video that handily compares a selection of shots from the colour version, the Black & Chrome version, and the colour version simply desaturated:
If you’re thinking “but the two black & white ones look the same!” then maybe this isn’t for you. And that’s OK — it’s an alternate version, after all.
In his introduction (the only new special feature on the Blu-ray), Miller admits that at times you lose some information by not having the colour; however, at other times it looks even better, and he reiterates that he thinks this is the best version of the movie overall. Somewhat famously, the theatrical version of Fury Road has hyper-saturated colours as a reaction against the usual post-apocalypse movie look of heavy desaturation. It’s somewhat ironic, then, that Miller’s preferred version is the opposite extreme — but can you imagine any studio exec agreeing to release a $150 million black & white movie?
Also in that introduction, Miller expands on the appeal of the desaturated version: “Something about black and white, the way it distills it, makes it a little bit more abstract, something about losing some of the information of colour, makes it somehow more iconic.” He’s got a point. The starkness of the imagery really heightens the effectiveness of some shots and sequences. Indeed, taking a look at some parts of the colour version afterwards, it all felt so ‘busy’ thanks to the additional visual information. You may remember that, a few years ago, Steven Soderbergh shared a black and white version of Raiders of the Lost Ark, the point being to highlight the shot composition and editing, easier to focus on with the distraction of colour removed. And he’s right. Not in the sense that this feels like watching an assignment for film school, but in the sense that the point of the framing and focus is emphasised further without colour.
And it does look beautiful. Cinematographer John Seale is clearly a master of lighting, something that’s only more apparent without colour. Indeed, Soderbergh said the same thing of Douglas Slocombe’s work on Raiders: “his stark, high-contrast lighting style was eye-popping regardless of medium.” Most of the movie looks like it’s been etched from silver — or, of course, chrome. The greys and whites are metallic, the blacks deep points of contrast. It looks gorgeous. It’s let down slightly by the nighttime scenes, however. They weren’t so hot in the colour version either, having been clearly shot in daytime and aggressively graded blue. Presumably that finished version was used for this, because rather than the stark imagery of the rest of the film, the nighttime stuff is kind of murky, the blacks kind of blue-ish, and it’s far less pleasing. (If you want to see for yourself, compare this screenshot to the others here.) Fortunately, that doesn’t make up much of the film.
Separate to the colour issue, Miller has expressed the influence of silent movies over Fury Road, including cutting the film without its soundtrack to make sure that it worked on a purely visual level. When he first promised the black and white edition would be released, he also said there’d be an isolated score option, to give the viewer the option of seeing the most stripped-back version possible. Sadly, that hasn’t happened. (He also promised a commentary and additional special features, which aren’t there either.) At times I tried to imagine how it would work in relative silence, and aside from a couple of places where you might want an intertitle or two, and the pre-climax scene where Max explains the new plan to Furiosa, it’d get by fine. So thoroughly committed is Fury Road to visual storytelling that even many of the dialogue scenes don’t actually need their dialogue — think about the early bit where Hux and Slit argue about who’s going to drive, for example. Sure, the dialogue makes explicit that Hux is normally the driver and Slit is taking his steering wheel because Hux is semi-incapacitated, but their body language conveys the gist of their disagreement clearly. It’s a shame Warners didn’t go the whole hog and let us have the option to experience the film with just the score, or score and effects, because I think it would’ve been equally interesting.
Obviously Fury Road: Black & Chrome is always going to be a curiosity for the dedicated fan rather than the primary way of viewing the film. Next time I watch it I imagine I’ll go back to the full colour version… but that’s mainly because I’ve only seen that version once anyway, so I want to re-experience the full impact of its wild colourfulness. However, for appreciating the quality of the photography, and for emphasising the legendary iconicity of Max and Furiosa’s story, I think Black & Chrome may well be the way to go.
Mad Max: Fury Road – Black & Chrome Edition is theoretically released on UK Blu-ray today. It’s also available to own digitally from Amazon, iTunes (as an extra on the regular edition), and presumably other retailers (if they still exist) too.
Steven Soderbergh’s variation of Raiders of the Lost Ark will probably be reviewed at a later date, because I really want to watch that now.