I saw this movie on T.V. and everything was colorful yet IMDB says it's in black and white. What I'm wondering is if they colorized it later or IMDB is just wrong or I am just crazy.
PHIL: "Ned, I would love to stay here and talk with you... but I'm not going to."
I saw Adam's Rib was going to be on, I didn't have time to watch it (and owned the DVD besides), so I just turned it on for a few seconds. It was colorized- disgusting. I couldn't even stand a few minutes of it. A b&w movie NEEDS to be b&w!
"Love's not about what you expect to get, only what you expect to give- which is everything."
Hey, no need to be rude- I just like watching movies the way they were originally filmed. Well, I don't mind restoration of picture and/or sound, but I dislike colorization, because it just looks totally fake to me. Maybe it doesn't to you. But that is just my preference.
"Kateness is greatness." Formerly Kate_Centennial_5-12-07
Legendary Director Fred Zinnemann Heirs File Suit in Italy
Zinnemann Ruling a Victory For Artists Rights
Oct-27-2005
Rome , October 27, 2005 Martin Scorsese, Chair of The Film Foundation, announced that an Italian Court has ruled that a television company in Italy violated the moral rights of famed film director, Fred Zinnemann, when it broadcast the colorized version of THE SEVENTH CROSS. TV Internazionale, which showed the film twice, once in 1996 and again in 1997, was banned from ever showing the film again in colorized form, required to destroy all colorized copies of the film, and ordered to pay damages.
In 1999, Tim Zinnemann filed the complaint as the son and heir of Fred Zinnemann, director of such legendary works as HIGH NOON (1952), FROM HERE TO ETERNITY (1953) and A MAN FOR ALL SEASONS (1966). Zinnemann made THE SEVENTH CROSS (1944), a drama about the horrors of pre-World War II Nazi Germany, in black and white as a deliberate, artistic choice. In the litigation, conducted by Arnold Lutzker, Washington DC, in coordination with Francesco Rampone and Maria L. Cuichini, Studio Legale Chiomenti, Rome, Italy, Zinnemann charged that the airing of the altered version of the film damaged his father's artistic honor and reputation. With its final ruling in favor of Zinnemann, the court sent a clear message that Italian law stands behind the rights of all film artists, regardless of nationality.
The Artists Rights Education and Legal Defense Fund Council, established by the Board of Directors of The Film Foundation, supported the Zinnemann family in this case, and considers the ruling an affirmation that the director is the author of the motion picture and that the integrity of the work is entitled to protection and preservation. The concept of moral rights maintains that the altering of a work without the artist's permission can harm the reputation or honor of the artist and is therefore unacceptable. Therefore, this ruling ensures that filmmakers' work is protected from alteration when it is exhibited in Italy.
Elliot Silverstein, Chair of the Artists Rights council, stated, "This decision has been a victory for film directors. But it is ironic that there is more protection for an American director in Italy than there would be for the work of an Italian director in the or even for an American director in his/her own country."
In making clear its interest in safeguarding the moral rights of film directors, Italy joins France, where another artists' rights case has been decided. In 1991, the Supreme Court of France ruled that the colorized version of THE ASPHALT JUNGLE (1950, d. John Huston) could not be distributed in theaters or broadcast on television without the director's approval.
Of course people complain about the TV networks or anyone else altering a film in any way. You've made a false assumption then called everyone a hypocrite based on that false assumption. You need to take a class in basic logic.
Ted Turner went through this phase where he colorized every movie that ever played on one of his stations and I'm sure ADAM'S RIB was no exception. The movie was made in black and white.
If I recall correctly, the first colour film made by Katharine Hepburn was The African Queen. How wonderful it would have been to see her beautiful red hair in "Woman of the Year" or "The Philadelphia Story". Considering her fabulous performances and her many Oscars, why didn't MGM make some of the Tracy & Hepburn movies made in the 40s in colour, goddamit??!! Pat and Mike was their first colour movie together I think. Desk Set is gloriously colourful too, not to mention GWCTD.