THE OLD MAN AND THE SEA

US, 1990, 97 minutes, Colour.
Anthony Quinn, Gary Cole, Patricia Clarkson, Alexis Cruz, Francesco Quinn.
Directed by Jud Taylor.

The Old Man and the Sea is a telemovie, a remake of the 1950s movie with Spencer Tracy (directed by John Sturges). This time the old man is Anthony Quinn, much more suited to the role than Spencer Tracy.

The film has attractive Caribbean settings, creates the atmosphere of the sea and the clash with the fish. Quinn handles the sea sequences with his customary vigour. The film focuses on the little boy, Manolo, who has faith in the old man. The theme of family and his wary daughter is also treated. There is also a background of guests in the hotel, an American writer and his wife who parallel Ernest Hemingway and his staying in Cuba.

The film justifies its length by the interweaving of the plots, not simply focusing on the old man and his struggle with the giant fish. The story is in the tradition of the sea with such elemental fish as 19th century Moby Dick or 20th century movies Jaws from Peter Benchley and Steven Spielberg. (The scenes of deep water fishing were filmed in Australian waters.)

1. The popularity of Ernest Hemingway's novel? The short story with its symbolic struggle between the old man who had not caught fish for so long and the giant fish? The symbolic human struggle?

2. The 1950s version with Spencer Tracy, Dmitri Tiomkin's score? Comparisons in treatment between the '50s and the '80s?

3. The old man and the sea, the elemental struggle? Realism? Symbolism?

4. The Cuban settings, the village, the hotel and the tourists, the families, houses and church? The children? The beaches? The fishermen? The sea?

5. Santiago and his family, his friendship with Manolo? So many days and his not having caught a fish? His hopes and despair? His daughter and her urging him to retire? Love for his family? The American author fascinated by him? His going out, trying to fish? The journey, the preparations, the religious background? Out on the sea, the sighting of the fish? The cinematic treatment of the catching of the fish, the struggle, being dragged along, the sharks and their circling and eating the fish, Santiago's endurance, his return home, the skeleton of the fish, but his sense of achievement?

6. Manolo, the little boy, friendship with Santiago, his mascot, his support? At home, in the village, with the people, his words for Santiago? His joy at the success of the encounter?

7. Santiago's family, the daughter, her pleading, arguments with her father, his stances?

8. The portrait of the townspeople, the fishing tradition? Religion, superstitions, fears? The hotel, the families, church? Their wariness of Santiago, fear, mockery? Sharing in his success?

9. The American author, his wife, their comfortable life at the hotel, the tensions in their marriage, reconciliation? The writer's block, the author observing the people, Santiago, his achievement? The author and his struggle and producing his book about Santiago?

10. The popularity of the story, its universal symbols and continued appeal?