Why is this movie in B+W?
Financial or Artistic?
shareI would say primarily artistic; it's used to convey the gritty, earthy, downbeat world of Burton's character (in contrast to the technicolor, glossy James Bond spy films of that time). Personally, I think it works wonderfully; I honestly can't imagine THE SPY WHO CAME IN FROM THE COLD working in color.
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Think about the subject matter. Agents move in a shadow world, and the blacks, whites, and shades of gray represent this perfectly. An absolutely perfect story to film in b&w. Arguments can be made for color or b&w on many films, but this is one where I believe the case is closed.
shareThis was also nearing the end of an era for B&W films. At that time, there were separate oscars for Color and B&W: Cinematography, Art Direction, Costumes.
The next year, 1966 was the last year of separate awards. Every director wants to make a black and white film. I think every director should.
Think about the subject matter. Agents move in a shadow world, and the blacks, whites, and shades of gray represent this perfectly. An absolutely perfect story to film in b&w. - norm_gillespie
That's exactly what I thought the first time I saw Spy: Although it may seem that the motivations and "good guys" and "bad guys" are apparent--in black and white--the reality of those definitions and the moral ambiguity inherent in their deployment become a spectrum of varying shades of gray.
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I would say primarily artistic; it's used to convey the gritty, earthy, downbeat world of Burton's character (in contrast to the technicolor, glossy James Bond spy films of that time). Personally, I think it works wonderfully; I honestly can't imagine THE SPY WHO CAME IN FROM THE COLD working in color. - terrythomas
It may be significant to note that the British 1960s spy series Danger Man (later known in the United States as Secret Agent), which I consider to be the most realistic spy series of the decade, was filmed in black and white except for its last two episodes. Patrick McGoohan, the star of Danger Man, would have made a good Alec Leamas. He may not have had the brooding angst and dour resignation that Richard Burton conveyed, but McGoohan would have been able to convey the clenched-jaw resolve and enigmatic coldness.
The black and white format suited Danger Man to a tee in the same way that B&W worked for Spy: Things that may seem to be black and white in appearance actually blend into shades of gray, or that may hide in shadow until exposed in the light. Tellingly, perhaps, the two Danger Man episodes shot in color, the last two, have a cartoonish feel to them that belied the intelligence and sophistication that distinguished the series almost to the end, although by that time McGoohan was prepping for his next series, The Prisoner; the final episode, "Shinda Shima," was ultimately a pallid James Bond imitation; coincidentally, McGoohan had been tapped to play James Bond before the role was offered to Sean Connery; he refused, of course.
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"Build high for happiness." - Red Kangs. Red Kangs are the best Kangs. share