– by Joseph Jammer Medina

There were a lot of genre film geeks last year who greatly looked forward to director George Miller’s long-awaited continuation of the Mad Max franchise in Mad Max: Fury Road. What many did not expect, however, was just how amazing the film turned out to be. While not exactly a classic tale, the story itself was just complicated enough to keep things interesting and the action moving, and amazing in its simplicity (It’s pretty much we want to go there, let’s drive, and we want to go back, let’s drive — with complications built in, of course).

More than anything, the plot made sure not to draw from the real star of the film: the visual effects. Mad Max: Fury Road became a testament of visual effects done well. So well were they, that many pointed to it as an example of why practical effects were so much better than CG — despite the fact that a good amount of the movie was done in a computer, only in a way most wouldn’t expect.

Somewhere along the way, George Miller revealed to fans that a black and white version of the film was on the way. Of course, those fans who were hungry to have a new experience jumped at the idea of a black and white version, especially since it was a version that Miller himself felt was superior to the original.

Now, in a new clip from Yahoo! Movies, Miller introduces a few shots from the film in all its black and white glory.

Here’s what Miller had to say in that introduction:

“I always dreamed of putting a Mad Max movie out in black and white. The best version I ever saw of Road Warrior was when the composer, Brian May, was on the sound stage conducting the orchestra. In those days, in the recording studio uses what they call a black and white dupe, which is a very, very crude, cheap version of the color print. And I remember walking in there for the first time and seeing the first black and white/dupe of Road Warrior, and I thought, ‘Oh my god, that’s how the movie should’ve been.’ 

“Something about black and white, the way it stills it, makes it a little bit more abstract, something about losing some of the information and color makes it somehow more iconic. On Mad Max: Fury Road, I was speaking to Eric Whipp, the colorist, and I said, ‘I’d love to see some scenes in black and white,’ and it looked fantastic.

“So here we are with the black and white version of the movie. Some scenes in particular play a lot better, and some there’s some information that we got from the color that are missing, but overall for me, it’s the best version of the movie.”

Call me a purist, but if the film was to be made in black and white, I argue that it should have been lit and shot in black and white. To remove all the color in post, to me, is a bit artificial and shallow. Sure, black and white has some sort of iconic quality, but at the end of a day, with a film that was shot for color, I can’t help but feel like any version other than a color one is a bit false.

That being said, I respect the fact that Miller fully admits that it doesn’t work as well for every shot, and whatever I say, there’s definitely a market for this with film buffs, who prefer to see the film in what the director believes is the best version possible.

What do you think? Will you be seeing the Mad Max: Fury Road Black and Chrome Edition?

Let us know your thoughts down below!

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SOURCE: Yahoo! Movies

Joseph Jammer Medina is an author, podcaster, and editor-in-chief of LRM. A graduate of Chapman University's Dodge College of Film and Television, Jammer's always had a craving for stories. From movies, television, and web content to books, anime, and manga, he's always been something of a story junkie.