Some people may think that having an alternative black & white version of a film is a bit snobbish or somehow doesn’t reflect well on the original colour version but I’m not one of those people. If the director’s vision that the film is that it is black & white then I say go for it. But with the money people, the risk-takers, being the shot callers when it comes to this it seems to be done way more as an alternative afterthought than a bold creative decision. I really, really liked the Black and Chrome version of Mad Max: Fury Road waaaay more than I liked the original version.
Logan Noir does a similar thing for Logon that the colour shift did for Mad Max, for me anyway. It brings it a bit more weight, a bit more seriousness but still manages to maintain the action impact and concussive nature of the fight sequences. Yes, the blood and gore are toned down but they aren’t the driving force behind this film.
In comparison to the super-bright, colourful Mad Max, Logan wasn’t a particularly comic book-like film anyway and the Noir version takes it another step away, rooting it in its moody lighting and western themes whilst still keeping the impact of the over-the-top action sequences that draw in the comic book crowd. Seeing the grizzled Hugh Jackman in such stunning contrast really made him feel more real, more serious, than he did in colour.
The transfer to black & white looks fantastic. I really enjoyed the reworking of this film as it added to the sombre nature of the story and enhanced the tone. While I don’t think that it works quite as well as Mad Max Fury Road did it is still a great version of the film.
Laura (Dafne Keen) is still amazing, Logan (Hugh Jackman) is still at pains to try to take Professor X (Patrick Stewart) away from it all, and seems even older and more weary than before, and Caliban (Stephen Merchant) is still whiter than white and always seemed a little bit strange in the context of the film, although now his ending had more meaning for me than in the colour version.