Blackmail by Hitchcock
Something that’s become easy these days is watching a movie. Used to be that you would have to wait for a film to appear in theaters again or worse, hope it showed up on TV. In which case it would be riddled with commercial breaks — yuck! You had no control. Today you can watch virtually any picture you’ve a mind to. For me, as an example, a film I’m interested in — especially if it’s one I love — could be part of my extensive DVD collection (over 300 titles). It might be available on Netflix, The Criterion Channel, HBO, Hulu, TCM, You Tube, Peacock or Amazon. In the past few years I’ve only come across a handful of movies that I can’t find anywhere. Yes, finding a movie to watch is easy. Unless….
It has multiple versions. Which one to watch? If you’re going to invest two hours in a film it damn well better be the better version of the two or the best version of the five. Let me see if I can help.
As a general rule the “extended cut” or “director’s version” or especially the “extended director’s cut/version” is better. But not always. Often there’s a director’s cut because the suits at the studio thought the film too long and butchered it. Okay, sometimes they didn’t butcher it, but they did take out key scenes. Of course, sometimes studios make cuts that improve a film, the director was over-indulgent. Usually not.
One example is Orson Welles’ The Magnificent Ambersons (1942) Welles. The story is that Welles made a masterpiece. Then he left the country and the studio got a hold of his print and eviscerated it. Welles was mortified and refused to have anything to do with the new version. Sadly, a copy of the original has never been found and may not even exist. The studio version was a very good film. But a very good film is a far cry from a masterpiece.
Alfred Hitchcock has to be in any discussion of the greatest directors of all time. He made cinematic classics from the silent era through the Sixties. But he also made two absolute clunkers: The Paradine Case and Jamaica Inn. What was different about those two besides the fact that they stunk? The studios re-cut them. When you’re watching one of those films (and I’d advise against it) you’re not truly seeing a Hitchcock film.
I cannot advise you on every film that has multiple versions as there are so many and so many of them are the types of films I don’t watch. Also, in many cases there is no longer more than one available, unless you go to a used DVD store. Streaming services and TV channels don’t tend to offer you more than one version. Understandably.
But I thought it worthwhile for me to offer guidance on a few films that I’m well acquainted with. All are part of my extensive DVD collection (I love saying and writing “my extensive DVD collection.”) I will try avoid telling you that one is BETTER than the other(s) though it will be, at times, unavoidable. In some cases the differences are a matter of taste and we all have different tastes — or so I’m told.
The Gold Rush (1925) Chaplin. There is the original version that was released in theaters in 1925 and then a 1942 re-release from Chaplin. The latter version includes Chaplin’s narration which is slightly shorter as Chaplin deleted a few scenes, notably ones featuring Georgia Hale, the female lead. In my opinion the narration is unnecessary and the deleted scenes are sorely missed, so I’d strongly recommend the original version. If you appreciate silent films than you’ll definitely favor the original.
The Big Sleep (1946) Hawks. With my DVD of this great film you choose between the pre-release and theatrical versions. Without going into details, the major difference between the two is that the theatrical version has a greater emphasis on the romance between Bogart and Bacall. The pre-release is more plot heavy. To me, the plot is heavy enough and I dearly love the byplay between the two leads, so I always watch the theatrical version. Either is fine but I think the general consensus —if it matters to you, is that the romantic focus is essential to the film.
Fanny and Alexander (1982) Bergman. Here’s a case in which I’m going to say one version is far superior to the other. There is a theatrical version of Fanny and Alexander and the TV version. Watching the theatrical version is — in my humble opinion — just plain silly. Think of it this way, imagine watching three episodes of Breaking Bad edited into one episode. Fanny and Alexander was meant for TV, when you reduce its 320 minutes to 188 minutes you’re cutting down it to and into the bone. It’s silly that they even thought to make a theatrical version. Fanny and Alexander (the full version) is one of the great gems of cinema — even if it was originally for TV.
Das Boot (1981) Peterson. To me this a case of three bears where one of three is “just right” — the middle one. There is the first U.S. theatrical version which is 149 minutes. Too short. There is original German TV mini-series which is 282 minutes. Too long. Finally there is the director’s cut which is 208 minutes. Just right. Indeed the director’s cut is, for me one of the great films of all time. The other two versions are fine and if you love the story as I do watching all three isn’t a bad idea, I think if you do, you’ll settle on the director’s cut as the best best.
Blade Runner (1982) R. Scott. There have been four versions. The original U.S, theatrical version and the International version are probably pretty hard to find these days, which is just as well as they are not highly regarded. I don’t believe I’m over-stepping when I say that I’d not bother. Both feature voice over narration which is totally unnecessary and indeed distracting. Worse, they also feature a studio-imposed happy ending that maybe doesn’t ruin the film but doesn’t fit with its general tone. That leaves you with the two director’s versions, one from 1992 and the other from 2007. The latter was fully controlled by the director Ridley Scott and is the one that you’re most likely to come across today. Frankly I don’t know why anyone would bother with any other version but feel free to check out the others.
Apocalypse Now (1979) Coppola. Here’s the big one. Cinephiles are divided between the original version and Apocalypse Now Redux. The difference between the two is the added scenes in Redux which lengthen the film by fifteen minutes. I’ve read that more people like the original because it is tighter and gets to the crux of the film faster. I like the Redux better because to me it expands the story to include a bit more history and an exploration of imperialism and colonialism. I’d never get into an argument about which version is better. The best thing to do — if you really like the film — is watch them both. I have and…well, you know what I think.
Andrei Rublev (1966) Tarkovsky. This is an easy one. There is an original 203 minute cut and the director-approved version, which is twenty-two minutes shorter. The second time I watched Andrei Rublev, unlike the first time, I found myself a bit bored at times. When it was over I realized I’d watched the longer version. The third time I watched I was sure to watch the shorter version. I wasn’t bored for a second. That’s all I’ve got to say on the matter other than that you should feel free to watch the longer version, as opinions may differ.
Blackmail (1929) Hitchcock. There is a silent version and a talking version of this great film. It was made as studios were transitioning to sound, hence the two takes. I much prefer the silent version. Early talkies were not great and this is an example. Sound was just being developed for use in films and actors weren’t yet comfortable with it. This comes across in Blackmail. Also Blackmail is powerful in large part because of the striking visuals, these are emphasized more in the silent version. If you don’t like silents then by all means watch the talkie version, otherwise I’d strongly recommend the silent version.
Touch of Evil (1958) Welles. There are three versions. The original theatrical version (93 minutes), The Preview Version (108) minutes and the 1998 reconstruction (111 minutes). I’m not going to tell you outright which one to watch but I’ll say that the first version was butchered by the studio. The second version restores much of Welles’ vision. The third restores even more of it and eliminates the upbeat score that accompanies the opening tracking shot in the other versions. I don’t believe anyone prefers the originally released version and most prefer the last version — as do I. But the second version has it’s supporters, mostly people who like original score and think the third has awkward sound edits. I believe the opening scene needs to be seen without the score and with the ambient street noises as in version three.
If there’s anything else I can help you with please drop a line.
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