Yup, pity the poor director who knows not what he's doing and just look at how Walter Hill spoiled "The Warriors" with his crazy tinkering inserting comic book scene transition panels which were what he wanted for his own film but which most viewers hated (LOL)
RE: THIS RELEASE in one of the most interesting steelbooks I've seen in a while - IMO great to have the option of the two FURY ROAD films in one package - the difference between the regular orange and blue vs. the B&C is just SO different - like night and day in fact - and all we need now is the director's true and complete vision for his film and that's the B&C with no dialogue only the soundtrack - would have been nice to have that as option #3 to make the package as complete as possible.
Of course it's not for the first time that we have the same film twice in one package with the B&W being the director's preferred version . . . the most obvious recent example being the B&W edition of Frank Darabont's THE MIST which I personally do not prefer to the regular version.
Not just Arthouse and classic film noir that were made in B&W (for various reasons one being the cost of colour film stock vs. B&W stock and the other being the "mood" of the piece) but also modern landmark films with B&W giving a specific look that colour can't hope to capture - just watch RAGING BULL or THE ELEPHANT MAN or SCHINDLER'S LIST or THE LAST PICTURE SHOW or even YOUNG FRANKENSTEIN.
The idea of a B&W RAIDERS OF THE LOST ARK may be a step too far for most people but IMO it's not totally absurd and I think it doesn't look half bad in this short clip.
http://flavorwire.com/181969/10-modern-movies-that-are-better-in-black-and-white
Same applies to a less obvious example - THE LAST SEDUCTION - which has similarities to classic film noir with its feisty heroine etc.
http://flavorwire.com/181969/10-modern-movies-that-are-better-in-black-and-white/4
I wouldn't dismiss modern-ish horror classics such as SILENCE OF THE LAMBS . . .
http://flavorwire.com/181969/10-modern-movies-that-are-better-in-black-and-white/9
. . . or HALLOW'EEN in B&W
http://flavorwire.com/181969/10-modern-movies-that-are-better-in-black-and-white/10
Roger Ebert, the famous film critic, wrote this In his wonderful 1989 essay “Why I Love Black and White", “There are basic aesthetic issues here. Colors have emotional resonance for us… Black and white movies present the deliberate absence of color. This makes them less realistic than color films (for the real world is in color). They are more dreamlike, more pure, composed of shapes and forms and movements and light and shadow. Color films can simply be illuminated. Black and white films have to be lighted. With color, you can throw light in everywhere, and the colors will help the viewer determine one shape from another, and the foreground from the background. With black and white, everything would tend toward a shapeless blur if it were not for meticulous attention to light and shadow .”
On the other side of the coin we have, shock horror (LOL), colourised B&W films coming from Ted Turner, Disney and others which have hardly been popular but have at the very least preserved films which might otherwise have been lost.
Unfortunately, or fortunately depending on your point of view, I've only seen one of the several hundred B&W films that have been colourised - IT'S A WONDERFUL LIFE (1946) - and that wasn't a painful experience at all.
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