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Once Upon A Time In America / Re: NEW DIRECTORS CUT
« on: May 21, 2012, 03:55:52 PM »
Okay, I think I'm about to make d&d's day. I found the following article (in French) which has some very interesting info, including a quote from Scorsese saying he knew Leone wanted these 20 minutes added back in. It also mentions the possibility of adding another 20 minutes to it in the near future. Alas, the article also talks a little about the graininess of the footage (though the translation isn't so good).
Here's the link: http://www.ecranlarge.com/article-details-22911.php
Here's the translation:
Announced for many months with varying lengths of time, assembly of novel Once Upon a Time in America was projected with great fanfare as part of Cannes Classics including the presence of Robert De Niro, James Woods, Elizabeth McGovern and Jennifer Connelly ( who made his film debut at 13 years for this film).
Sergio Leone's film, restored by the Cinematheque of Bologna, has been discovered for the first time in a version of 4:13. So it's 24 minutes that were uncovered novel with a careful integration even if unable to work on the material of the first generation makes it perfectly detectable new sequences. Blame it on a grain, a calibration and a definition necessarily different mounting film that we know.
Very active in this restaurant since it is its foundation, The Film Foundation, which funded the transaction through the generous donation of $ 2 million from the fashion house Gucci, Martin Scorsese told our colleagues in the World: "In the case of Once Upon a Time in America, I know that Leone wanted those twenty minutes are restored. "
We are thus dealing with the version closest to the present time - Scorsese mentioned the possibility in the near future to add another twenty minutes - of what is now called the director's cut of Once Upon a Time in America. If, again, the visual changes between the sequences is detrimental to the aesthetic harmony of the work, it is undeniable that some of the new scenes provide insight essential to the story.
If the appearance of Louise Fletcher, so far only credited in the credits, as director of the cemetery, was far more the media's failure, it is far from that was most lacking in the story. Unlike the character of Eve, the prostitute Noodles (De Niro) meets in a bar, after raping Deborah (Elizabeth McGovern) in the car. A long sequence vital to discover the dismay of Noodles, regretting his act in a night of love almost pathetic when he tries to imagine Deborah instead of Eve - he even gives his name. Right after, we also discover Deborah have a coffee before catching his train, with his face still shocked by the tragic event happened. A tragedy of the two characters who suffer in their own way and the drama that gives meaning to the much heavier exchanged brief look on the station platform.
In the final moments of the film, we discover a scene now essential to understand the impossible situation in which there is the Secretary of State Bailey (thus verily Max played by James Woods). The footage shows James Conway (Treat Williams) forcing Bailey to sign papers making him almost lose everything and suggesting starting to end his days to avoid scandal unborn awaited his appearance in court. The desire to end Max and by the hand of his old friend, is so much more understandable. And the scene to show that the big winner in history is the character of Conway, obvious metaphor for an America where workers control anyone, holds the real power.
Among other additions, less vital to the enrichment of the story, we remain skeptical about lengthening the sequence where the dips Noodles car into the sea showing his friends worried about not seeing him rise to the surface. It is not known whether the sequence was originally intended to hear what the actors were saying, but then rise in the state, only the music of Morricone is present and the minutes are not the most successful.
The sequence of discussion between Noodles and his driver (played by the producer, Arnon Milchan) before they go out to dinner with Deborah, can show a big difference in perspective on life between the two men and a rising tensions that will resonate in the driver's reaction when he condemns rape by her boss.
Finally, the reunion between Noodles and Deborah are now preceded by a scene where we see Noodles discover the actress on stage in the process of interpreting the role of Cleopatra.
The discovery of this new version of Once Upon a Time in America, was in any event, a highlight of the festival. And especially the opportunity to realize, if any were needed, how the last movie of Sergio Leone is a monumental work and may be the best film to be screened at the festival this year. When you think that the reception was lukewarm at its first presentation in May 1984.
Here's the link: http://www.ecranlarge.com/article-details-22911.php
Here's the translation:
Announced for many months with varying lengths of time, assembly of novel Once Upon a Time in America was projected with great fanfare as part of Cannes Classics including the presence of Robert De Niro, James Woods, Elizabeth McGovern and Jennifer Connelly ( who made his film debut at 13 years for this film).
Sergio Leone's film, restored by the Cinematheque of Bologna, has been discovered for the first time in a version of 4:13. So it's 24 minutes that were uncovered novel with a careful integration even if unable to work on the material of the first generation makes it perfectly detectable new sequences. Blame it on a grain, a calibration and a definition necessarily different mounting film that we know.
Very active in this restaurant since it is its foundation, The Film Foundation, which funded the transaction through the generous donation of $ 2 million from the fashion house Gucci, Martin Scorsese told our colleagues in the World: "In the case of Once Upon a Time in America, I know that Leone wanted those twenty minutes are restored. "
We are thus dealing with the version closest to the present time - Scorsese mentioned the possibility in the near future to add another twenty minutes - of what is now called the director's cut of Once Upon a Time in America. If, again, the visual changes between the sequences is detrimental to the aesthetic harmony of the work, it is undeniable that some of the new scenes provide insight essential to the story.
If the appearance of Louise Fletcher, so far only credited in the credits, as director of the cemetery, was far more the media's failure, it is far from that was most lacking in the story. Unlike the character of Eve, the prostitute Noodles (De Niro) meets in a bar, after raping Deborah (Elizabeth McGovern) in the car. A long sequence vital to discover the dismay of Noodles, regretting his act in a night of love almost pathetic when he tries to imagine Deborah instead of Eve - he even gives his name. Right after, we also discover Deborah have a coffee before catching his train, with his face still shocked by the tragic event happened. A tragedy of the two characters who suffer in their own way and the drama that gives meaning to the much heavier exchanged brief look on the station platform.
In the final moments of the film, we discover a scene now essential to understand the impossible situation in which there is the Secretary of State Bailey (thus verily Max played by James Woods). The footage shows James Conway (Treat Williams) forcing Bailey to sign papers making him almost lose everything and suggesting starting to end his days to avoid scandal unborn awaited his appearance in court. The desire to end Max and by the hand of his old friend, is so much more understandable. And the scene to show that the big winner in history is the character of Conway, obvious metaphor for an America where workers control anyone, holds the real power.
Among other additions, less vital to the enrichment of the story, we remain skeptical about lengthening the sequence where the dips Noodles car into the sea showing his friends worried about not seeing him rise to the surface. It is not known whether the sequence was originally intended to hear what the actors were saying, but then rise in the state, only the music of Morricone is present and the minutes are not the most successful.
The sequence of discussion between Noodles and his driver (played by the producer, Arnon Milchan) before they go out to dinner with Deborah, can show a big difference in perspective on life between the two men and a rising tensions that will resonate in the driver's reaction when he condemns rape by her boss.
Finally, the reunion between Noodles and Deborah are now preceded by a scene where we see Noodles discover the actress on stage in the process of interpreting the role of Cleopatra.
The discovery of this new version of Once Upon a Time in America, was in any event, a highlight of the festival. And especially the opportunity to realize, if any were needed, how the last movie of Sergio Leone is a monumental work and may be the best film to be screened at the festival this year. When you think that the reception was lukewarm at its first presentation in May 1984.