Theatrical Version or Director's Cut?
Not all film director’s have the luxury of “final cut”. The right to ensure that the completed version of a film corresponds with their creative vision. Films are commercial undertakings and sometimes the producers, film studio or other interested parties get to assert their wishes over that of the director. Often this can be due to practical considerations such as running time or budget. On occasions, this can be down to major creative and artistic differences. Hence the theatrical release of a film may be considered flawed, unfinished or just plain wrong by the director, if changes have been imposed, regardless of the reasons. Therefore, a director’s cut of a film can offer a significantly different cinematic vision over the original theatrical release. They can present an opportunity to fix perceived problems or just put more narrative meat on the bones. This may lead to a film being critically reappraised.
Not all film director’s have the luxury of “final cut”. The right to ensure that the completed version of a film corresponds with their creative vision. Films are commercial undertakings and sometimes the producers, film studio or other interested parties get to assert their wishes over that of the director. Often this can be due to practical considerations such as running time or budget. On occasions, this can be down to major creative and artistic differences. Hence the theatrical release of a film may be considered flawed, unfinished or just plain wrong by the director, if changes have been imposed, regardless of the reasons. Therefore, a director’s cut of a film can offer a significantly different cinematic vision over the original theatrical release. They can present an opportunity to fix perceived problems or just put more narrative meat on the bones. This may lead to a film being critically reappraised.
However, it is erroneous to assume that a director’s cut is a superior version of a film by default. Sometimes, a filmmakers desire to return to a previous project and make alterations yields no significant results. Some director’s even develop a reputation as “serial tinkerers” who never seem to be satisfied, whatever the results. Francis Ford Coppola’s Apocalypse Now exists formerly in three distinct versions. Oliver Stone has released four versions of his film Alexander (2004). As for George Lucas, he stated in an interview that “films are never completed, they’re only abandoned”. He has famously revisited his body of work several times and not necessarily to their overall benefit. With all this in mind, here are three films, where popular opinion and critical acclaim favours the original theatrical version over the later released director’s cut.
Alien (1979). Ridley Scott is another well known director who always seems to revisit his work and make alterations. His reasons for re-editing vary and sometimes they do yield better movies. However, the original theatrical release of Alien is described by Scott himself as “the best he could possibly have made at the time”. Yet in 2003, he released a “director’s cut” despite stating that this was not his definitive version. The new version restored roughly four minutes of deleted footage, while cutting about five minutes of other material, leaving it approximately a minute shorter than the theatrical cut. The standout changes were to Brett’s death scene which shows more of the xenomorph and the infamous scene where Ripley finds Dallas “cocooned” and puts him out of his misery. Being no more than a fan service, this version has no additional value. In fact it can be argued that it only serves to contradict the xenomorph’s established biology.
Donnie Darko (2001). Richard Kelly had to compromise when making his off kilter science fiction movie. The main one being keeping the running time below two hours. In 2004, director Kelly, re-cut the film, added twenty minutes of previously deleted footage as well as new music and sound effects. This director's cut provides a clearer insight into many of the film's more ambiguous plot elements and makes the previously vague temporal mechanics less esoteric. However, critics and fans alike have stated that the charm of the theatrical release lies in its mysterious and ill defined nature. It is a deliberately enigmatic cinematic journey. Kelly’s second edit may well add clarity but in doing so neuters what so many viewers found endearing. Sometimes, less is indeed more.
The Warriors (1979). Walter Hill’s underrated, stylised gang drama has its roots in the writings of ancient Greek professional soldier Xenophon. The theme of a group of warriors trapped in hostile territory and trying to get home is cleverly transposed to seventies New York City. Made on a tight schedule by a studio that wasn’t especially enamoured with the material, Hill didn’t get to draw the exact parallels he originally wanted. Hence in 2005, he added a new opening scene with a voiceover describing how Xenophon’s army attempted to fight its way out of Persia and return home. He also inserted comic-book splash panel shots as a means to bridge various key scenes in the film. Sadly, this was a little too on the nose and too expository. Recent releases of The Warriors on Blu-ray and UHD have included both versions and the consensus remains that the theatrical release is more efficient, requiring no further embellishment.
Doctor Sleep Director’s Cut (2019)
Bringing Doctor Sleep to the big screen is a tall order for any filmmaker. Yet director Mike Flanagan (who also wrote the screenplay) manages to tread boldly along this difficult cinematic path. He delivers not only a credible sequel to Kubrick’s unique movie but also manages to adapt Stephen King’s follow up book fairly coherently. Yes, compromises have been made as Kubrick’s version of The Shining strayed far from the source text and therefore trying to dovetail legacy lore into King’s multi-layered follow up novel is a difficult task. However, Flanagan manages to craft a thoughtful and character driven tale which advances the themes present in both the previous film and the source text of the original book and its follow up. Doctor Sleep is not a rollercoaster ride filled with jump scares and convenient gore. It is a slow burn that builds atmosphere and tension. It also offers a strong sense of continuity and fans of the previous instalment will enjoy the sense of nostalgia this new film provides with it’s litany of subtle homages and asides. It is not without flaws but it is an interesting example of a more cerebral horror movie.
Bringing Doctor Sleep to the big screen is a tall order for any filmmaker. Yet director Mike Flanagan (who also wrote the screenplay) manages to tread boldly along this difficult cinematic path. He delivers not only a credible sequel to Kubrick’s unique movie but also manages to adapt Stephen King’s follow up book fairly coherently. Yes, compromises have been made as Kubrick’s version of The Shining strayed far from the source text and therefore trying to dovetail legacy lore into King’s multi-layered follow up novel is a difficult task. However, Flanagan manages to craft a thoughtful and character driven tale which advances the themes present in both the previous film and the source text of the original book and its follow up. Doctor Sleep is not a rollercoaster ride filled with jump scares and convenient gore. It is a slow burn that builds atmosphere and tension. It also offers a strong sense of continuity and fans of the previous instalment will enjoy the sense of nostalgia this new film provides with it’s litany of subtle homages and asides. It is not without flaws but it is an interesting example of a more cerebral horror movie.
It becomes apparent quite quickly while watching Doctor Sleep, that this isn't your run of the mill horror film. The standard of writing, performances and general tone of the film is far more nuanced than most genre outings. The screenplay doesn’t shy away from showing Dan Torrence (Ewan McGregor) hitting rock bottom, as he becomes an alcoholic to drown out the “shining”. A one night stand, in which he robs the woman he’s slept with, has far reaching consequences. Yet far from alienating audiences, the clever writing fosters a sense of sympathy as Dan subsequently moves to a new town and meets Billy Freeman (Cliff Curtis), an ex-alcoholic who helps him turn his life around. As he embarks on a new voyage of self-discovery, Dan finds a positive use for his “gift” when he starts work in a Hospice. He comforts patients as they approach death, calming them with personal visions from their past.
Running in parallel with Dan Torrence’s story, is that of Abra Stone (Kyliegh Curran). Abra has a similar “shining” ability to Dan but of a far greater magnitude. It frightens her parents and alienates her from her school friends. As she reaches out with her psychic abilities, she attracts the attention of Rose the Hat, who is the leader of the cult the True Knot. Rose (Rebecca Furguson) and her group are psychic vampires that feed upon “steam” or psychic essence. The group kidnap, torture and kill children to feast upon their steam, as it keeps them young and fuels their supernatural powers. Once aware of Abra’s presence, Rose sets her sights on her as a potential limitless food supply. Inevitably, Dan crosses path with both Rose the Hat and Abra, leading to a confrontation that can only be resolved by revisiting the now deserted Overlook Hotel. Perhaps the demons that await Dan there, can serve another purpose.
Doctor Sleep has certainly more highs than lows and focuses on being a disturbing character study with a building atmosphere, rather than a gorefest. Apart from one murder which is very disturbing by its very nature, rather than what is actually shown, the film is not overly reliant on violence. Performances are good and there is some very clever casting of actors who have a comparable style and appearance to Shelley Duvall, Jack Nicholson and Scatman Crothers. Some plot elements such as Dan’s struggle to not become his Father are explored well. Abra brings something more to the proceedings, rather than just the standard trope of a teenager with a supernatural power. Sadly, Rose the Hat is somewhat lacking as a villain. This has nothing to do with Rebecca Furguson per se but mainly the way the character is realised. Simply put Rose is not threatening enough and doesn’t exude sufficient malevolence, despite her penchance for child murder. Yet despite these minor shortcomings, there is sufficient depth to Doctor Sleep to keep discerning horror fans engaged.
I did not see the theatrical cut of Doctor Sleep upon its release in UK cinemas. I watched the Director’s Cut which adds an additional 30 minutes of character development to the film. This version is well paced, brooding and encompasses a broad spectrum of plot elements. However, even this extended version still leaves some themes and characters underdeveloped. Dan’s recovery from alcoholism is somewhat swift and his job as an orderly is shown but not fully explored. Bruce Greenwood has an interesting cameo as Dr. John Dalton and it would be nice to find out more about the man. But Stephen King is notorious for multiple characters in his books and that cannot always be easily accommodated in the confines of a mainstream film. All things considered, Mike Flanagan could have ended up falling between two stools while trying to to justice to King’s intricate work and riffing off Kubrick’s seminal movie. The results are not 100% perfect but Doctor Sleep strives to do justice to both groups of fans. The film offers a reassuring sense of familiarity to those wedded to Kubrick’s vision and manages to take the characters forward and allow them to grow and tell a new story, rather than just retread old ground. Popular consensus is that the extended version is the more successful of the two edits.
Dark City: Director's Cut (1998)
There are many directors who have cut their teeth working in the music industry. They have often fashioned their cinematic style and technique from the music videos they’ve made. Unfortunately, I am not a fan of this school of movie making. McG, for example represents to me the epitome of style over substance. I also detest this current trend for fast editing. It may well be pertinent for the music industry but I believe it is to the detriment of the narrative cinema. But there is one director from this background who has risen above his roots and exhibits true creative talent and a fundamental grasp of film. Alex Proyas, director of The Crow and I, Robot.
There are many directors who have cut their teeth working in the music industry. They have often fashioned their cinematic style and technique from the music videos they’ve made. Unfortunately, I am not a fan of this school of movie making. McG, for example represents to me the epitome of style over substance. I also detest this current trend for fast editing. It may well be pertinent for the music industry but I believe it is to the detriment of the narrative cinema. But there is one director from this background who has risen above his roots and exhibits true creative talent and a fundamental grasp of film. Alex Proyas, director of The Crow and I, Robot.
Dark City is an often-overlooked film, lost in the wake of the media hype surrounding The Matrix. Both have plot similarities and common themes. However, Dark City displays a deeper level of thought which is perhaps t why it lost favour with mainstream audiences not adequately equipped for its cerebral rigour. There is also a lack of a mainstream A list actor. Instead the film relies upon an international cast of established character actors. In 2008, director Alex Proyas re-edited the film, removing the original opening narration, adding additional material and some extra FX footage. The results are quite startling and have had quite an impact on the way the story is presented and which themes and motifs are emphasised.
Dark City starts off as a stylised film noir, with Rufus Sewel waking up in a motel with a dead prostitute. He's soon on the run from hard boiled cop, William Hurt. Can he trust his estranged wife Jennifer Connelly? Is he really mentally ill as his Doctor (Kiefer Sutherland) describes or is there something more sinister going on? Who are the trio of tall strangers dressed in black, who are pursuing him over the ersatz 1950s city? A postcard hints at possible clues that can be found at shell beach, an out of town resort. But despite being clearly sign posted, no underground train seems to go there. Matters just seem to get stranger, as peoples identities change along with streets and buildings. Why is it perpetually night time? As the story soon descends into a disturbing dystopian nightmare it becomes clear that there are sinister forces at work.
This director's cut of Dark City, turns a flawed but accomplished film into one that finally reaches its full potential. The detective story soon gives way to darker plot elements and expands into a gothic vision. The final act reveals an intriguing science fiction style dénouement. To say more would spoil the plot for those who have yet to see it. Let it suffice to say that Dark City is one of a handful of movies that successfully straddles multiple genres. The production design is striking mixing expressionism, art nouveau and fifties Americana. The story is reminiscent of Philip K. Dick work and has more than a hint of Kafka about it.
The cast is very eclectic (and international), featuring the talents of Ian Richardson, Richard O' Brien, Colin Friels, Bruce Spence and even John Bluthal (Frank Pickles from The Vicar of Dibley). Trevor Jones provides an evocative soundtrack. Proyas directs stylishly with a good grasp for story and character. This new cut, removes the voice over at the beginning which clumsily telegraphed the plot and places a more nuanced focus on the initial mystery. The theme of awaking from a perceived reality into a bleaker and more sinister alternative one, as mentioned earlier draws comparisons with The Matrix. However, the messianic allegory of that film is exchanged here for a more Nietzschian subtext.
Dark City by its very nature was always destined to become a cult film. Yet it actually is more than that, working on several levels. It can be viewed as a baroque science fantasy film or as a deeper commentary on the shallow and contrived nature of modern society. It is certainly a visually arresting and thoughtful if sombre film. It is not excessively violent, though it is somewhat grotesque and brooding. The ending may spark a further debate when you consider the implications.
Salt: The Director's Cut (2010)
Director Phillip Noyce is no stranger to the thriller genre having made several competent examples such as Dead Calm, Patriot Games and Clear and Present Danger. Therefore, I was expecting a professionally crafted action film, when I recently purchased Salt on Blu-ray. However, it soon became apparent that Salt had suffered the usual indignities of studio interference during the course of its production, as there are three versions of the movie on the disc. The PG-13 theatrical version suffers from the usual ratings issues, so I chose to ignore it. The Extended cut includes new and alternative scenes as well as the violence restored but I felt it appropriate that I watch The Director's Cut for the fullest version of the movie. Specific details regarding the differences between all versions can be found at movie-censorship.com
Director Phillip Noyce is no stranger to the thriller genre having made several competent examples such as Dead Calm, Patriot Games and Clear and Present Danger. Therefore, I was expecting a professionally crafted action film, when I recently purchased Salt on Blu-ray. However, it soon became apparent that Salt had suffered the usual indignities of studio interference during the course of its production, as there are three versions of the movie on the disc. The PG-13 theatrical version suffers from the usual ratings issues, so I chose to ignore it. The Extended cut includes new and alternative scenes as well as the violence restored but I felt it appropriate that I watch The Director's Cut for the fullest version of the movie. Specific details regarding the differences between all versions can be found at movie-censorship.com
The Director's Cut of Salt is a stylish and gritty post Cold War thriller that benefits from a solid cast and imaginative writing. Initially written as a vehicle for Tom Cruise, Angelina Jolie had the script re-tooled by writer Brian Helgeland to more suit her requirements. Yes, the plot is somewhat farfetched but I consider its grandiose storyline to be an asset rather than a fault. The theme of deep cover Soviet agents waiting for decades to cause havoc reminded me of Don Siegel's 1977 movie Telefon. Salt is certainly no more preposterous than the convoluted adventures of Jason Bourne. The editing is certainly superior to that franchise, for starters.
The movies greatest strength is the central performance by Angelina Jolie as Evelyn Salt. Is she a loyal CIA operative or really a double agent? The film keeps you guessing and more to the point, Jolie keeps the viewer caring. She also acquits herself extremely well during the action sequences which are not the customary CGI-fest you usually get these days. There are some very good physical effects sequences featured in the Director's Cut as well as some solid hand to hand combat. Liev Schreiber and Chiwetel Eijofor provide robust support as investigating government agents without descending into caricature. Playing senior covert operatives can so often be subject to so much cliché.
Whenever Hollywood deviates from a standard formula and casts against established gender or racial stereotypes, such a decision can often overshadow a movie. Sometimes a need to justify this “difference” can even work its way into the screenplay. Salt avoids such stupidity and doesn't go to any length to crassly highlight the gender of its protagonist. It offers an entertaining one hundred minutes and includes all the standard tropes and memes one expects from this genre. The Director's Cut provides more narrative and plot development and is the most well rounded version of the movie. It certainly allows Angelina Jolie to do more than just perform her own stunt work and as such is the cut of the film I would recommend.