The film moby dick (1956) and it's religious significance

With the crew that joins him, Ahab is therefore determined to destroy this large sea mammal, upon which his fixation with vengeance becomes so great that he can’t turn back, hence leading to his death as well as all of his crew in attempts to save the new able seaman, Ishmael (Huston, 2002). Based on the film’s strong style as well as its underlying subjects of uncertainty, lunacy, and obsession, the paper will, therefore, explore Gregory Peck's religious significance based on literal, loose and faithful adaptations into the 1956 film, Moby Dick. Adaptability After decades of Herman Melville’s publication of his novel, Moby-Dick, the text has occupied an extraordinary position of the genuine cultural icon, making it one of the decisive novels that people acknowledge even without ever reading it.

References to the captain who chases the large white whale in the novel have been of endless streams in both high art as well as in pop culture artifacts and references. Mentioning a list of the many Moby-Dick inspired texts includes operatic, comic, film and graphic novels adaptations; Television and New Yorker cartoons (Tom and Jerry’s Dicky Moe), film references (Heathers, Jaws, as well as John Houston’s Moby Dick 1956 film), television shows (The X Files, Parks), as well as in musical tributes (Led Zeppelin, Ahab, as well as Mastodon) (Schultz, pp. Faithful Adaptations Literal adaptations represented in Houston’s Moby Dick film attempts to stage Melville’s original material into a new medium, but on the other hand, the film remains as close to the author’s intentions as possible.

The faithful adaptation takes into account further, based on the script’s cuttings from time to time, changing of the character’s names, as well as the editing of the film to make the story fit in the new medium. The difference occurs based on the fact that the faithful adaptations in Melville’s novel exist as actual events, but the actual events thereby inspire the loose adaptation of Houston's film. However, similar critiques as to the novel are made since the staging of Houston’s film in 1956, representing Richard Peck, who plays as Ahab, as miscast to accomplish the choice of role transcending on the perspectives of revenge as man’s source of power and mastery, a controversial concept in accordance to religious and moral teachings of good neighborhood as well as brotherhood on the basis of forgiving our enemies.