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Author Topic: NEW DIRECTORS CUT  (Read 221768 times)
Novecento
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« Reply #135 on: March 23, 2011, 01:55:41 PM »

It will not be just a simple restoration of the film "Once Upon a Time in America", but a director's cut, that is a return to the original version that the director Sergio Leone had assembled.  A dream that his children, Andrea and Raffaella, have pursued for a long time and now thanks to an agreement with producer Arnon Milchan, signed ten days ago, it will become a reality.

I wonder why it took so long to reach an agreement.

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« Reply #136 on: March 24, 2011, 11:47:39 PM »

 "There will be new and complex editing."    I wonder how different it will be.  I have seen hundreds of films.  nothing blew me away the way OUTIA did in Chicago in 1984.  It's so damned exciting, I can hardly stand it! 

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« Reply #137 on: March 25, 2011, 09:34:25 AM »

.. this of course raises a bunch of new questions that lead to the conclusion that Max never (not in the end anyway) actually seriously thought that he was going to rob the bank - the whole robbery was just a way to cause a lot of noise so that Max could change scenery undisrupted. Naturally this scenario would imply that Max very clearly knew how much trouble and pain he was going to cause Noodles - maybe that was even a strong motivation for his act.

Just my speculation.

Remember, Max made sure Noodles did not accompany the others that night, because his plan was already in place...

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« Reply #138 on: March 25, 2011, 09:45:38 AM »

Remember, Max made sure Noodles did not accompany the others that night, because his plan was already in place...
Good call Afro It's been years since I last saw the movie so I don't remember all the details. This pretty much confirms my theory.

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« Reply #139 on: March 25, 2011, 10:14:42 AM »

Thanks guys for these great articles. Afro

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« Reply #140 on: March 25, 2011, 02:07:13 PM »

Remember, Max made sure Noodles did not accompany the others that night, because his plan was already in place...

I don't see any evidence in the film as to where Noodles was at that time, and why he wasn't escorting the booze shipment, and how he made it out of there alive.

I have read that in a deleted scene (which will hopefully now be restored), the elderly Carol tells Noodles that Max didn't want to involve him in his suicide, but that he didn't give a fuck about Cockeye and Patsy. Of course, we know that Carol's version of the story is wrong (she still believes the story Max told her...) but I see no evidence to support the version that Max intentionally left Noodles alive to cause him grief...  I mean, if Max wanted to ditch his past life, change identities and take the money and move on, isn't it better not to leave anybody around?

I would really appreciate if someone can explain exactly where Noodles was on that fateful night and why he wasn't involved in the shooting....

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« Reply #141 on: March 25, 2011, 02:32:49 PM »

I don't see any evidence in the film as to where Noodles was at that time, and why he wasn't escorting the booze shipment, and how he made it out of there alive.

I have read that in a deleted scene (which will hopefully now be restored), the elderly Carol tells Noodles that Max didn't want to involve him in his suicide, but that he didn't give a fuck about Cockeye and Patsy. Of course, we know that Carol's version of the story is wrong (she still believes the story Max told her...) but I see no evidence to support the version that Max intentionally left Noodles alive to cause him grief...  I mean, if Max wanted to ditch his past life, change identities and take the money and move on, isn't it better not to leave anybody around?

I would really appreciate if someone can explain exactly where Noodles was on that fateful night and why he wasn't involved in the shooting....
Now I could be totally wrong, but didn't Max knock him out?

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« Reply #142 on: March 25, 2011, 04:02:43 PM »

Now I could be totally wrong, but didn't Max knock him out?

Yea that's what I thought.

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« Reply #143 on: March 25, 2011, 05:06:49 PM »

Now I could be totally wrong, but didn't Max knock him out?

we see Max punch him and he falls down; next thing we see is the elderly Noodles and Carol at the Bailey Foundation. not clear whether Noodles got knocked out...?

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« Reply #144 on: March 26, 2011, 06:56:01 PM »

Wow, thanks for the script. Afro

I'm reading through it and I have to say I really like the opening scene. The fight between Noodles and the Syndicate goons is really intense, though not necessarily Leone-esque.

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« Reply #145 on: March 26, 2011, 11:20:56 PM »

Thanks for the scripts!

1. So this 1982 script is the final shooting script?

2. Tempted as I am to read the script of the missing scenes, I think I'm gonna hold off until the restored movie is released  Smiley

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« Reply #146 on: March 27, 2011, 02:34:43 PM »

we see Max punch him and he falls down; next thing we see is the elderly Noodles and Carol at the Bailey Foundation. not clear whether Noodles got knocked out...?

He definitely pistol-whips him pretty hard.

I'll advance a new theory re: this film: the movie is a dying vision by Noodles after Max cracks his head open.

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« Reply #147 on: April 04, 2011, 07:47:18 AM »

In issue 359 of Cahiers Du Cinema dated May 01 1984, Leone spoke of the 50 minutes he cut from the movie:

Roughly translated:

"I cut a scene where Deborah (Elizabeth McGovern) plays the role of Cleopatra: meetings between Eve and De Niro; a love scene with Deborah as a young girl; a passage that I liked very much, the restaurant at the train station (it was shot at the Brasserie Julien in Paris); a very beautiful scene between De Niro and the driver of the Rolls Royce who is Jewish too, but bourgeois/middle-class.

I also cut a scene from the 1930s where the garbage truck that we see at the end of the film is stopped in front of the mansion, another where a crane dredges the river bringing the movie back to 1968. And another beautiful scene with Louise Fletcher, who plays the director of the cemetery - with one cut, we no longer see her in the film. Many of the cuts I was forced to make concern Noodles' relationships with women."


So the additional footage may be:

Deborah as Cleopatra

Meetings between Eve and Noodles

A love scene with Deborah as a young girl  Shocked

Deborah waiting at the train station restaurant (Brasserie Julien in Paris)

De Niro and the driver of the Rolls Royce (Milchan)  Undecided

Garbage truck scene from 1930s

A crane dredging the river bringing the movie back to 1968

Louise Fletcher as director of the cemetery






Frayling talks about most of these scenes. In the extra dialogue between Noodles and his Jewish limo driver, the driver expresses his disdain for Noodles's way of life. The reason Leone wanted this in was to emphasize that the Jewish community despised Jewish gangsters (this theme is very prevalent in The Hoods as well, how the community looked down upon the gangsters).

Also, I wonder if one of the reasons Leone shot this scene (aside from it having a source in the book) is to emphasize another difference between his gangster film and the other gangster films to which it inevitably is compared (yeah, of course I am talking about The Godfather  Wink...)

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« Reply #148 on: April 04, 2011, 02:03:33 PM »

There's some relevance to Milchan's additional scene but I hope they changed the dialogue:

. . .

NOODLES
I like your outfit. Just like them Germans who drop matches onto Jewish delis so they can watch them burn to the ground.

CHAUFFEUR
They burned mine. So I brought my wife and children here.

. . .

CHAUFFEUR
They don't all tip like you.  But I go to school, I'm working for a degree in chemical engineering.  

NOODLES
Maybe you'll earn a few bucks by the time you're fifty and too old to get it up.

. . .


hmmm....  I don't see how the German stuff fits; prior to Hitler's coming to power (which is almost certainly after this scene  takes place) German Jews were generally not persecuted

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« Reply #149 on: April 04, 2011, 08:58:57 PM »

By the government, no, but the SA was performing goon operations well before then.

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