If you’re as much a fan of World War Two documentaries as I am, you must have noticed the movement toward colorizing material that was originated in black-and-white. It started slowly a few years back, but now it’s almost a given that older historical films shown by the streamers and on basic cable have been desecrated to their core. None of it looks natural or appealing, which suggests the crime was committed not just with atrocious human taste but with help from some form of AI. This makes it all the more insulting, even as it’s a harbinger of what’s to come.
I had my own experience with such degradation early in my career when the distributor of a feature I’d shot – Federal Hill (1994; Michael Corrente) – insisted on colorizing it for VHS and DVD release. The presumptuousness of those in charge of the facility doing the work was astonishing. No one asked or cared why the director and I chose to shoot this dark, noir-ish story on 35mm black and white negative. They simply heaved a paint factory at it. In the end, I was able to stop them from turning it into an Easter parade, but the damage to our initial concept was irreparable.
If it’s wrong to tamper with an act of fiction, it’s worse to tamper with history. Only the smallest of minds would believe it makes events seem more modern or accessible. They also forget that the nature of history is decidedly not modern. Young people don’t know the difference, and they’re being fed another lie. Sufficient amounts of color film had reached the European and Pacific fronts by the end of the war to ensure a different record of the action existed, and it’s fun to see in its intended form. While few are aware of this today, fewer yet recognize colorized images as a false interpretation. Plainly, it’s a revisionist act, ignorant, cynical and manipulative. The broadcasters should be ashamed of themselves.
I never bought into Hollywood’s time-worn assumption that audiences don’t like black and white films. What they don’t like are lousy stories told in any form. World War Two remains one of the greatest narratives in existence. The footage shot by the combat cameramen of the day is the most authentic witness available to moments that really happened. Transforming their native grayscale to color skews their context and perverts the viewing experience.
So, here I am ranting about an issue most would consider trivial. Living as we are in a post-truth era, does any of this really matter? Of course it does, in that it begs a much broader question: “Where do the insults end?” The colorizers probably think they’re being clever and that nobody will call them on the ruse. If they really wanted to put one over, they should black-and-white-ize all of the war’s existing color film. Don’t kid yourself. It wouldn’t surprise me if they gave it a shot sometime soon.
When they do, I will notice. And I will despise that, too.
Maybe if the”colorizers” had ever created their own images…
Thank you, Richard.
Like you, I grew up watching WW II features, and was later astonished at all of the footage shot by our combat cameramen,
I frequently thought that I was seeing my father in these films as he was in the European theatre.
Henry Freulich, ASC was the Fuji Film rep. when I was in the loading room, and he told me many stories of how he trained many Marines to shoot footage.
You have the ability to tell it like it is, at it is greatly appreciated.
Thank you, Gary! I do my best…
Peter – All they create is chaos…!
Rich, I believe when you worked with me, we did a project directed by Tom Priesley, brother of Jack. Tom was one of the first cameramen into Auschwitz whle working for one of the newsreels. I’m sure he would be spinning at the mention of colorizing footage of the horrors he saw and filmed there.
As a youngster, I was mesmerized by the B&W NBC series “VICTORY AT SEA” which was a compilation of B&W footage from WWII. That series as well as “YOU ASKED FOR IT” were influential in guiding me to a career in cinematography.
Now a little housekeeping. Gary Baum, ASC wrote the following:
“Henry Freulich, ASC was the Fuji Film rep. when I was in the loading room, and he told me many stories of how he trained many Marines to shoot footage.” The sentence gives the impression the Fuji film was used in WWII, at least my reading. It’s highly unlikely that Fuji, a Japanese company was supplying film the the US Marines.
Hey Greg – I remember seeing Victory at Sea on WPIX in New York when I was a kid; it was one of my favorites! And being a much younger man than Henry Freulich, I also trust Gary’s reference was to many years later, after Fujifilm had become established in Hollywood. I don’t even know if they existed as such during the war…
World War documentaries serve as powerful reminders of humanity’s past, offering insights into the complex motivations behind historical events and decisions. Exploring the reasons behind the actions taken during wartime can shed light on the multifaceted factors that drive human behavior, such as politics, ideology, economics, and social dynamics. By delving into these documentaries, viewers can gain a deeper understanding of the complexities of war and its impact on individuals and societies. It’s a valuable opportunity to reflect on history, learn from the past, and strive for a more peaceful future.