Well, thanks to Refocused Media (via CinemaBlend), we may finally know. The site has discovered a listing for Mad Max: High Octane Collection on Amazon Germany, a new 6 disc box set, that will in fact feature the long-desired alternate cut, dubbed the “Black & Chrome Edition” in the packaging. According to the listing, the box set will be released on September 29th as well.
The black & white, soundtrack-only version lives! (hopefully)
Finally caught this on HBO Go. It was pretty good! A few concessions here and there to the writing for the sake of the plot, but that's kind of inevitable, and the performances from Hardy and Theron were consistently very good.
Definitely enjoyed it, despite not really liking anything pertaining to Mad Max previously (it's not my kind of fictional apocalypse I guess). A few hyper-violent gross moments I ended up wincing through, though I'd be more surprised if I didn't find those.
Much better than The Force Awakens, in my view--having only seen both films once.
It looks like that entry hasn't been updated since July if I'm reading it right, and the only information there is "Miller wants to make a sequel with Hardy still playing Max".
Doesn't seem like there's much to get excited about there unfortunately.
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DeadfallI don't think you realize just how rich he is.In fact, I should put on a monocle.Registered Userregular
edited January 2017
I lift this thread to the highways of Valhalla.
So if anybody was curious, Black and Chrome is beautiful. I don't have a 4k tv, and I don't know if that would make a difference anyway, but it is stunning on my 1080p.
It's not so much just black and white, they crank the contrast so it's almost a glaring silver. The scenes where there's a stark contrast of character against the background, like Furiosa walking and falling in the desert after the Many Mothers, or Max standing on the hill with the War Rig overlooking them speeding away, are absolutely gorgeous. The opening shot is beautiful. Every shot of Furiosa with her grease facepaint is amazing.
I still like the vivid colors of the original, but I definitely now own 3 copies of the movie (this edition comes with an extra blu-ray copy) and I love them all.
Honestly, given how the original is shades of blue/violett vs yellow/red I'm not surprised it works well in enhanced B&W.
P.S: Watching the trailers I am however surprised how many old school 1930s filming tricks you recognize once it's in B&W, like the way they illuminate Immortan Joes face in every closeup to make him seem intelligent yet sinister.
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webguy20I spend too much time on the InternetRegistered Userregular
This shows neatly the differences not just between the color and Black & Chrome editions, but also between B&C and just desaturating the color. There's a significant contrast difference (like @Fiendishrabbit said, it makes those old techniques really pop), and I suspect there's even more to it than just that.
As much as I liked the use of color in Fury Road, B&C really does look great.
DeadfallI don't think you realize just how rich he is.In fact, I should put on a monocle.Registered Userregular
Like I think the shot where Furiosa is driving the War Rig for the first time with her head paint and she casually looks at the mirror, and she meets eyes with the camera, might be my favorite shot in the entire movie. It is perfect in black and white.
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PositronicsPositron TrackerIn a nutshellRegistered Userregular
The movie (including the B&C edition) is only $8 on iTunes in Canada right now.
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It's interesting that the Black and Chrome adds a level of unreality to the scenes. Like in the first scene the car almost looks CGI in the BC version compared to the color version.
It's interesting that the Black and Chrome adds a level of unreality to the scenes. Like in the first scene the car almost looks CGI in the BC version compared to the color version.
I think it's because we as audiences are unused to viewing black and white films, combined with the deliberate high-contrast nature of the shots, that creates the feeling of unreality.
It's interesting that the Black and Chrome adds a level of unreality to the scenes. Like in the first scene the car almost looks CGI in the BC version compared to the color version.
I think it's because we as audiences are unused to viewing black and white films, combined with the deliberate high-contrast nature of the shots, that creates the feeling of unreality.
It's not just that it's Black and White, the B&C one smooths over a lot of fine details that aren't hidden in the "0% Color Contrast" scenes.
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FeriluceAdrift on the morning star.Aberdeen, WARegistered Userregular
I've picked up the High Octane Collection and watching the series from the start. This is the first time I have seen the original Mad Max movie, and it was not what I was expecting at all. Still enjoyed it. Road Warrior was fantastic. Up next - Thunderdome.
The first Mad Max is what you get when you film a movie for $50 in the Aussie outback.
And I, for one, still think it kicks ass.
The chase cinematography is absolutely unparalleled. Certainly for its time. No-one had ever done anything quite like that before, and they probably couldn't now. (Even Miller had to take different approaches subsequently.)
Sure, it can be a bit slow when there's no cars on the road, and it gets a tad too close to incoherence a few times. Doesn't matter. It's as much a classic to me as The Road Warrior or Fury Road. All three of them are utterly indispensable as far as I'm concerned.
(I like Beyond Thunderdome too, but it's some way behind the other three for me. Turner is brilliant in it, though.)
I've picked up the High Octane Collection and watching the series from the start. This is the first time I have seen the original Mad Max movie, and it was not what I was expecting at all. Still enjoyed it. Road Warrior was fantastic. Up next - Thunderdome.
Me and a friends reaction watching it the first time was "isnt this supposed to be post apocalyptic? It just looks like 70's austrailia." You get into the weird "well its in progress and things are falling apart so crime is up yaddayadaa..."
With the way this is shot, can you tell that the night scenes are night in the black and chrome version? They were shot in day and then run through the blue wash, a couple of my friends thought it went black and white for these parts already because of how strange they thought it looked.
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DeadfallI don't think you realize just how rich he is.In fact, I should put on a monocle.Registered Userregular
Honestly the bog scenes are almost exactly identical to the regular version.
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daveNYCWhy universe hate Waspinator?Registered Userregular
Watched the Black and Chrome... and I have to say I really liked the color version much more. There's some really nice shots in the B&C, but there's a lot of other bits where it doesn't pop at all. I really missed the color when they first introduce the Doof's flamethrower. The absolutely brilliant orange and red isn't there so the scene didn't hit as hard.
I did like that in the B&C version the relative blandness of the scenery when the meet the Vuvalini really focuses your attention on the characters. When they're all talking about the demise of the green place the background is pretty much mush and I was focusing much more on the people, same as when Furiosa waked into the desert for her breakdown.
Shut up, Mr. Burton! You were not brought upon this world to get it!
Watched the Black and Chrome... and I have to say I really liked the color version much more. There's some really nice shots in the B&C, but there's a lot of other bits where it doesn't pop at all. I really missed the color when they first introduce the Doof's flamethrower. The absolutely brilliant orange and red isn't there so the scene didn't hit as hard.
I did like that in the B&C version the relative blandness of the scenery when the meet the Vuvalini really focuses your attention on the characters. When they're all talking about the demise of the green place the background is pretty much mush and I was focusing much more on the people, same as when Furiosa waked into the desert for her breakdown.
I completely agree.
I think selective coloring would have been better. Much harder to pull off well & much more difficult from a technical perspective, but it would have solved things like how the monochrome makes certain scenes with a lot of detail difficult to find a focus point in.
Colorizing the flames coming out of the guitar, for example, perhaps coloring people's eyes for select shots, perhaps even doing some color fade/fade out to focus attention on certain set pieces during complex scenes.
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+3
daveNYCWhy universe hate Waspinator?Registered Userregular
Watched the Black and Chrome... and I have to say I really liked the color version much more. There's some really nice shots in the B&C, but there's a lot of other bits where it doesn't pop at all. I really missed the color when they first introduce the Doof's flamethrower. The absolutely brilliant orange and red isn't there so the scene didn't hit as hard.
I did like that in the B&C version the relative blandness of the scenery when the meet the Vuvalini really focuses your attention on the characters. When they're all talking about the demise of the green place the background is pretty much mush and I was focusing much more on the people, same as when Furiosa waked into the desert for her breakdown.
I completely agree.
I think selective coloring would have been better. Much harder to pull off well & much more difficult from a technical perspective, but it would have solved things like how the monochrome makes certain scenes with a lot of detail difficult to find a focus point in.
Colorizing the flames coming out of the guitar, for example, perhaps coloring people's eyes for select shots, perhaps even doing some color fade/fade out to focus attention on certain set pieces during complex scenes.
I'd like to see something like that, but I'd be worried that it might come off as a bit of a gimmick, like the selective coloring in the Sin City movies. The coloring worked there, but was also a bit... distracting? Or it seemed like it kind of broke of the flow of the scene?
I definitely think that with the B&C edition out there, Fury Road is an even more useful movie to view and try and learn from, since you can now see the difference that color and definition and whatnot make to different scenes, which is pretty huge. And this isn't like Turner colorizing the various classics. This is the director producing both the color and B&W versions that he wants.
Shut up, Mr. Burton! You were not brought upon this world to get it!
Watched the Black and Chrome... and I have to say I really liked the color version much more. There's some really nice shots in the B&C, but there's a lot of other bits where it doesn't pop at all. I really missed the color when they first introduce the Doof's flamethrower. The absolutely brilliant orange and red isn't there so the scene didn't hit as hard.
I did like that in the B&C version the relative blandness of the scenery when the meet the Vuvalini really focuses your attention on the characters. When they're all talking about the demise of the green place the background is pretty much mush and I was focusing much more on the people, same as when Furiosa waked into the desert for her breakdown.
I completely agree.
I think selective coloring would have been better. Much harder to pull off well & much more difficult from a technical perspective, but it would have solved things like how the monochrome makes certain scenes with a lot of detail difficult to find a focus point in.
Colorizing the flames coming out of the guitar, for example, perhaps coloring people's eyes for select shots, perhaps even doing some color fade/fade out to focus attention on certain set pieces during complex scenes.
I'd like to see something like that, but I'd be worried that it might come off as a bit of a gimmick, like the selective coloring in the Sin City movies. The coloring worked there, but was also a bit... distracting? Or it seemed like it kind of broke of the flow of the scene?
I definitely think that with the B&C edition out there, Fury Road is an even more useful movie to view and try and learn from, since you can now see the difference that color and definition and whatnot make to different scenes, which is pretty huge. And this isn't like Turner colorizing the various classics. This is the director producing both the color and B&W versions that he wants.
Yeah - it would be extremely challenging to do selective color right, which is probably why they just went with B&W.
IMHO it didn't add enough in the small scenes to make-up for the loss in the larger scenes, though.
With Love and Courage
0
daveNYCWhy universe hate Waspinator?Registered Userregular
Watched the Black and Chrome... and I have to say I really liked the color version much more. There's some really nice shots in the B&C, but there's a lot of other bits where it doesn't pop at all. I really missed the color when they first introduce the Doof's flamethrower. The absolutely brilliant orange and red isn't there so the scene didn't hit as hard.
I did like that in the B&C version the relative blandness of the scenery when the meet the Vuvalini really focuses your attention on the characters. When they're all talking about the demise of the green place the background is pretty much mush and I was focusing much more on the people, same as when Furiosa waked into the desert for her breakdown.
I completely agree.
I think selective coloring would have been better. Much harder to pull off well & much more difficult from a technical perspective, but it would have solved things like how the monochrome makes certain scenes with a lot of detail difficult to find a focus point in.
Colorizing the flames coming out of the guitar, for example, perhaps coloring people's eyes for select shots, perhaps even doing some color fade/fade out to focus attention on certain set pieces during complex scenes.
I'd like to see something like that, but I'd be worried that it might come off as a bit of a gimmick, like the selective coloring in the Sin City movies. The coloring worked there, but was also a bit... distracting? Or it seemed like it kind of broke of the flow of the scene?
I definitely think that with the B&C edition out there, Fury Road is an even more useful movie to view and try and learn from, since you can now see the difference that color and definition and whatnot make to different scenes, which is pretty huge. And this isn't like Turner colorizing the various classics. This is the director producing both the color and B&W versions that he wants.
Yeah - it would be extremely challenging to do selective color right, which is probably why they just went with B&W.
IMHO it didn't add enough in the small scenes to make-up for the loss in the larger scenes, though.
I think that's my take as well. But damn if a number of those smaller scenes aren't great.
I now want the following: Fury Road: Silent Movie; Take the Black and Chrome version, change the soundtrack to be a player piano, add silent movie dialogue shots in at the minimum necessary to advance the plot.
Shut up, Mr. Burton! You were not brought upon this world to get it!
Aside from being a post-apocalyptic movie set in Australia the film takes a different approach. There's one brief shot of two cars bumper to bumper that references the iconic car chase in Mad Max that I pumped my fist at though.
It's a very good film.
0
LokiDon't pee in my mouth and tell me it's raining.Registered Userregular
The first Mad Max is what you get when you film a movie for $50 in the Aussie outback.
And I, for one, still think it kicks ass.
The chase cinematography is absolutely unparalleled. Certainly for its time. No-one had ever done anything quite like that before, and they probably couldn't now. (Even Miller had to take different approaches subsequently.)
Sure, it can be a bit slow when there's no cars on the road, and it gets a tad too close to incoherence a few times. Doesn't matter. It's as much a classic to me as The Road Warrior or Fury Road. All three of them are utterly indispensable as far as I'm concerned.
(I like Beyond Thunderdome too, but it's some way behind the other three for me. Turner is brilliant in it, though.)
Absolutely - don't get me wrong, I didn't say what I did to be negative. It's just very obvious that the budget was minuscule. It's an Aussie classic and what Miller accomplished with that budget is remarkable.
The first Mad Max is what you get when you film a movie for $50 in the Aussie outback.
And I, for one, still think it kicks ass.
The chase cinematography is absolutely unparalleled. Certainly for its time. No-one had ever done anything quite like that before, and they probably couldn't now. (Even Miller had to take different approaches subsequently.)
Sure, it can be a bit slow when there's no cars on the road, and it gets a tad too close to incoherence a few times. Doesn't matter. It's as much a classic to me as The Road Warrior or Fury Road. All three of them are utterly indispensable as far as I'm concerned.
(I like Beyond Thunderdome too, but it's some way behind the other three for me. Turner is brilliant in it, though.)
Absolutely - don't get me wrong, I didn't say what I did to be negative. It's just very obvious that the budget was minuscule. It's an Aussie classic and what Miller accomplished with that budget is remarkable.
That's why I tried to be ambiguous with my initial response, I could see you weren't criticizing, just observing.
I do tend to reflexively defend that movie a tad, though. I didn't mean to sound like I was accusing you or anything. Apologies if my tone was a bit off.
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the only action movie that ever put me to sleep.
the fight scenes were just so incoherent that my eyes rolled back and i passed out.
To the joy of nightclub DJs everywhere.
I hope the Black and Chrome edition has an option for the soundtrack only version, and for a version with dialogue.
Definitely enjoyed it, despite not really liking anything pertaining to Mad Max previously (it's not my kind of fictional apocalypse I guess). A few hyper-violent gross moments I ended up wincing through, though I'd be more surprised if I didn't find those.
Much better than The Force Awakens, in my view--having only seen both films once.
Just got a message from Amazon that it's getting pushed back from September, 29th to October, 25th.
Mediocre
Some pretty great footage from the filming of Fury Road. Even better because it is all 100% practical, no CGI whatsoever.
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It looks like that entry hasn't been updated since July if I'm reading it right, and the only information there is "Miller wants to make a sequel with Hardy still playing Max".
Doesn't seem like there's much to get excited about there unfortunately.
So if anybody was curious, Black and Chrome is beautiful. I don't have a 4k tv, and I don't know if that would make a difference anyway, but it is stunning on my 1080p.
It's not so much just black and white, they crank the contrast so it's almost a glaring silver. The scenes where there's a stark contrast of character against the background, like Furiosa walking and falling in the desert after the Many Mothers, or Max standing on the hill with the War Rig overlooking them speeding away, are absolutely gorgeous. The opening shot is beautiful. Every shot of Furiosa with her grease facepaint is amazing.
I still like the vivid colors of the original, but I definitely now own 3 copies of the movie (this edition comes with an extra blu-ray copy) and I love them all.
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P.S: Watching the trailers I am however surprised how many old school 1930s filming tricks you recognize once it's in B&W, like the way they illuminate Immortan Joes face in every closeup to make him seem intelligent yet sinister.
-Antje Jackelén, Archbishop of the Church of Sweden
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And now I want a B&W edition of The Road Warrior. Although at this point I'd settle for a UK release of Fury Road: Black & Chrome!
This shows neatly the differences not just between the color and Black & Chrome editions, but also between B&C and just desaturating the color. There's a significant contrast difference (like @Fiendishrabbit said, it makes those old techniques really pop), and I suspect there's even more to it than just that.
As much as I liked the use of color in Fury Road, B&C really does look great.
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I think it's because we as audiences are unused to viewing black and white films, combined with the deliberate high-contrast nature of the shots, that creates the feeling of unreality.
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It's not just that it's Black and White, the B&C one smooths over a lot of fine details that aren't hidden in the "0% Color Contrast" scenes.
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And I, for one, still think it kicks ass.
The chase cinematography is absolutely unparalleled. Certainly for its time. No-one had ever done anything quite like that before, and they probably couldn't now. (Even Miller had to take different approaches subsequently.)
Sure, it can be a bit slow when there's no cars on the road, and it gets a tad too close to incoherence a few times. Doesn't matter. It's as much a classic to me as The Road Warrior or Fury Road. All three of them are utterly indispensable as far as I'm concerned.
(I like Beyond Thunderdome too, but it's some way behind the other three for me. Turner is brilliant in it, though.)
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Me and a friends reaction watching it the first time was "isnt this supposed to be post apocalyptic? It just looks like 70's austrailia." You get into the weird "well its in progress and things are falling apart so crime is up yaddayadaa..."
With the way this is shot, can you tell that the night scenes are night in the black and chrome version? They were shot in day and then run through the blue wash, a couple of my friends thought it went black and white for these parts already because of how strange they thought it looked.
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I did like that in the B&C version the relative blandness of the scenery when the meet the Vuvalini really focuses your attention on the characters. When they're all talking about the demise of the green place the background is pretty much mush and I was focusing much more on the people, same as when Furiosa waked into the desert for her breakdown.
I completely agree.
I think selective coloring would have been better. Much harder to pull off well & much more difficult from a technical perspective, but it would have solved things like how the monochrome makes certain scenes with a lot of detail difficult to find a focus point in.
Colorizing the flames coming out of the guitar, for example, perhaps coloring people's eyes for select shots, perhaps even doing some color fade/fade out to focus attention on certain set pieces during complex scenes.
I'd like to see something like that, but I'd be worried that it might come off as a bit of a gimmick, like the selective coloring in the Sin City movies. The coloring worked there, but was also a bit... distracting? Or it seemed like it kind of broke of the flow of the scene?
I definitely think that with the B&C edition out there, Fury Road is an even more useful movie to view and try and learn from, since you can now see the difference that color and definition and whatnot make to different scenes, which is pretty huge. And this isn't like Turner colorizing the various classics. This is the director producing both the color and B&W versions that he wants.
Yeah - it would be extremely challenging to do selective color right, which is probably why they just went with B&W.
IMHO it didn't add enough in the small scenes to make-up for the loss in the larger scenes, though.
I think that's my take as well. But damn if a number of those smaller scenes aren't great.
I now want the following: Fury Road: Silent Movie; Take the Black and Chrome version, change the soundtrack to be a player piano, add silent movie dialogue shots in at the minimum necessary to advance the plot.
Aside from being a post-apocalyptic movie set in Australia the film takes a different approach. There's one brief shot of two cars bumper to bumper that references the iconic car chase in Mad Max that I pumped my fist at though.
It's a very good film.
Absolutely - don't get me wrong, I didn't say what I did to be negative. It's just very obvious that the budget was minuscule. It's an Aussie classic and what Miller accomplished with that budget is remarkable.
That's why I tried to be ambiguous with my initial response, I could see you weren't criticizing, just observing.
I do tend to reflexively defend that movie a tad, though. I didn't mean to sound like I was accusing you or anything. Apologies if my tone was a bit off.
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