classicsoncall Some interesting notes on the production of the film from Ben Mankiewicz, hosting the film on Turner Classics. Humphrey Bogart and Anthony Quinn both wanted the role of the Old Fisherman, but Warner Brothers went with Spencer Tracy. Ernest Hemingway was brought in as a technical adviser and demanded a rewrite, while additional problems forced Fred Zinnemann out as director to be replaced by John Sturges. To more realistically portray the Old Man, Tracy whitened his hair, but the myriad production delays and the stress of the role managed to turn his hair white anyway.I find the picture is loaded with symbolism and it's been too long since I read Hemingway's novella, so I don't recall if some of the ideas presented in the movie were part of the original source. Regarding the Old Man's insistence on going out to fish everyday despite almost three months of failure, he remarks to the young boy Manolin (Felipe Pazos) that "Every day is a new day", a belief he shares as a counterpoint to any self doubt he might have had in his own ability. Even more important to my mind was the Man's dialog with himself after days at sea battling the marlin, stating that "Man is not made for defeat". Once he hooked the giant fish, the old man was not going to be intimidated into submission against the enormity of his quest. This idea is expanded during a moment when he defers his prayers for success because he's too weary, battling the fish through a hazy blur of bone numbing exhaustion.But then, once he's successfully brought the marlin under control and prepares it for the return home, predatory sharks make their way to the boat to take their measure of the dead fish. Demonstrating remorse for the magnificent animal he just killed, the Old Man vows to keep on fighting to salvage his prize, once again showing his determination to remain undefeated. That theme pervades the entire story, one that's actually quite elegant in it's simplicity. With almost the entire story depending on Tracy's singular performance, one is caught up in his plight and engages with the sailor for a safe trip back to port.There's one more scene that struck me in it's symbolism, that of the Old Man back on land and collapsing under the burden of his equipment. The imagery brings to mind the weight of the cross that Christ carried and how He fell three times on the way to His crucifixion. Once again, an analogy of overcoming physical pain and death, mirrored by the fisherman's belief that Man can be destroyed but not defeated. I found it all very philosophical and perhaps a heavier message than the film makers or even Hemingway intended, but it's there nevertheless. So I guess what I'm saying is that I got a lot more out of this picture than a man trying to land a big fish.

siderite Spencer Tracy acts and narrates in this film about an old fisherman getting the catch of his life. The small boy, the terrace owner and any other characters are really there for a few scenes. The entire story is about the old man and the struggle with the fish a metaphor for life: it's hard and it sucks, and then you die. It was funny that my wife was always asking me "is he going to die?" like there was any chance the old man could be immortal. In the film he doesn't die, but that is clearly besides the point.Tracy was nominated for an Oscar for his performance, but really, it's just a guy in a boat, talking to himself and to a fish and nothing much is going on. The film is just one hour and a half, but its simplistic plot makes it feel a bit too long, especially now, more than 50 years later since the movie was made. I guess it is a nice movie and it helps if you want to not read the written story, just don't expect too much.

wes-connors After eighty-four days without a catch, seafaring "old man" Spencer Tracy (as Santiago) finds his prowess as a Cuban fisherman slipping away. Hero-worshiping young sidekick Felipe Pazos (as Manolin) is advised, by his parents, to seek fairer waters with another mate - but, the boy won't abandon Mr. Tracy. His unlucky streak ends when Tracy's small boat gets pulled to new waters, where he finds the biggest fish in the sea. As he struggles alone against the elements, you'll wonder who caught who… Like the classic Ernest Hemingway story from which it is adapted, there is much to read into "The Old Man and the Sea" - and Tracy earnestly tackles some of the reading, in frequent narrative interludes. The award-winning efforts by Tracy, director John Sturges, and cinematographer James Wong Howe (in color, this time) are certainly worth a look. The "National Board of Review" considered this the best picture of the year. But, this film doesn't catch the wave you can ride in the original story.****** The Old Man and the Sea (10/7/58) John Sturges ~ Spencer Tracy, Felipe Pazos Jr., Harry Bellaver

wgregh For a mid-'50s (okay, that tired phrase, "mid-century") film, it is a half-decent depiction of Hemingway's classic, though Spencer Tracy's Cuban accent is obviously forced, if even available, and Tracy needed a good week under a tanning bed if the producer expected us to believe that even a gringo fisherman would look as pale as Tracy's character looked. The scenery was not as much in the studio appearance as I would have expected, except with the fish-fighting scenes looking forward in the boat to the fish. Wasn't the Old Man (Tracy) fighting a swordfish in one scene, or am I mistaken? I'm told by TMC's anchor that it was a fake fish because they couldn't catch a decent fish when shooting for the flick, and Hemingway wasn't a fan of the movie, making comments about Tracy not passing for a Cubano at all. But at least on my old Sony 19" Trinitron television (no digital here), the expired fish, its long backbone exposed, was perfect! And I love the ending shots of the fishermen silhouetted against the sunset, which as a former west Floridian, was totally real.