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I haven't seen either version, but mousepod made a grand point of saying the edited, U.S.-release version, which is the one available via Netflix I presume, was pure crap.
so when i sadly I missed the screening, I knew there was no way to see the same version of Perdita Durango which screened at la casa (much less one with the customized subtitled care of senor mousepod). Le sigh. |
What I saw was the "unrated director's cut" not the US theatrical version.
According to comments on IMDb what was cut was mostly Rosie Perez nudity and rights-difficult TV and movie clips. I don't know what was happening during that nudity and I've read how Vera Cruz was involved. Somehow I don't think that seeing her boobs would have made Perez any more palatable but as with fried pork penis, I won't say I didn't like it until I've had it; but I'm not going to go out of my way. |
So, in the version you saw, was the film Vera Cruz featured twice? (I especially want to know if it appeared at the end of the film.)
Here's a listing of all of the cuts. We watched One Flew Over the Cuckoo's Nest tonight. I haven't seen that film since the late 70's. It is amazing how it holds up to time and is still such a great film! |
No, Vera Cruz was cut from the end as that page described. Of all the cuts listed that is the only one I see possibly having a huge impact on the film. Somehow not seeing the dad watching Mary Tyler Moore or an extra shot of Perez's boob doesn't seem significant.
Did I mention that Rosie Perez was really, horribly awful? Whenever she was off screen for a few minutes I felt myself warming up to things a bit. But then back she'd come. |
Yeah, it was that last use of Vera Cruz that really sold the film for me. Very, very important to appreciation of the whole thing.
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I'll just have to take your word for it. I don't see how it could be (especially since I've never seen Vera Cruz) though. A payoff in the final 2 minutes doesn't really help with being bored silly for the first 119.
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Two films by Wong Kar Wai last nite:
Happy Together - 1997 movie about a dysfunctional Chinese gay couple stranded in Argentina. OMG, botched mess of bad editing, script, cinematography and concept. The fuctupness of the two guys and their on-again-off-again lives together and not was relentlessly distressing. But Tony Leung is a total cutie as the more sympathetic of the two lovers. -and- In the Mood for Love - beautiful but sad film about neighbors in 1962 Shanghai who find their respective spouses (his wife, her husband) are having an affair. They start spending a lot of time together, fall deeply in love, but refuse to carry on like the spouses they are so upset with ... and never fulfill the promise of their romance. I found it astonishing that, in 2000, just 3 years later, the same director and cinematographer created this work of stunning beauty. Gorgeous cinammontography, assured editing, stylish directing, fantastic use of music. Evocative and moody, but not a downer until near the end when you realize the two lovesters will never be lovers. They are played by the yummy Tony Leung (a little older than he was in Happy Together, but still so handsome) and the unbelievably gorgeous Maggie Cheung. It took me a while to remember where I'd seen them as a couple before ... and it was in Yimou Zhang's stunning 2002 film Hero (which I also hearily recommend if you haven't seen it). |
Wong Kar Wai is one I generally don't see the appeal of but I really did enjoy In the Mood for Love.
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Quote:
Amazon description of 2045, behind a spoiler tag because it's lengthy. Spoiler:
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It took me almost a week to watch 2046 on DVD. Every single time I started it I would be asleep within 15 minutes. Seriously, the most powerful sleeping aid I've ever experienced.
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