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Ridley Scott
The Film: Blade Runner
Years: 1991 and 2007
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What makes it special? The history of Ridley Scott’s troubled Blade Runner is knottier than a pair of headphones cables after five minutes in the average pocket, so to prevent breaking brains we’re going to focus on the two most notable re-releases – the 1991 “Director’s Cut” and 2007’s “Final Cut”.
The Scott-approved Director’s Cut was released in 1991 as a direct response to the success of the Workprint’s unauthorised exhibition in certain theatres (the workprint was a fable version shown to preview audience before the original release). The most significant changes include the removal of Deckard’s droll voiceover, re-insertion of Deckard’s unicorn dream sequence (which adds a huge amount of depth to a previously hidden subtext) and removal of the ludicrous studio-enforced happy ending. It’s a massively superior and meaningful version of the film, drastically altering the tone and narrative with what amounts to mere minutes of additional/altered screen time.
The Director’s Cut, however, wasn’t created by Scott, but film preservationist Michael Arick, with notes from Scott. The only cut Scott has ever had complete artistic control over was the 2007 “Final Cut”, released both theatrically and on DVD/Blu-ray in 2007. From a digital pupil that reacts to the flames erupting over LA to hockey-masked geisha dancers, the changes are mainly used to correct errors, mistakes and shortcomings that have existed for years, such as putting the face of actress Joanna Cassidy over the head of stunt double Lee Pulford during Zhora’s death sequence – clearly a man in drag previously. Perhaps the most sympathetic change, though, is the dark, moody skyline added to the moment when the dove flies out of the hands of the dead Roy Batty – it fits so perfectly with the dour mood of the scene, rather than the previous “factory at dawn” look.
There are more changes than you’d think, but unless you’re the type who prefers Deckard’s voiceover (weirdo) the Final Cut is the only version to consider. It’s also worth pointing out that the Workprint is available as part of the five-disc 2007 Ultimate Edition DVD release for the curious, as it does feature several shots not present in any other versions.
The Film: Alien
The Year: 2003
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What makes it special? Nothing. The Alien director’s cut is among the worst example of the Special Edition. If it were up to us we’d submerge every copy in acid blood. Despite boasting the subtitle “The Director’s Cut” it was created purely to cash in on the 25th year anniversary – a marketing ploy to draw more people in for the limited theatrical re-release. Heck, even Scott admitted as much on the commentary for the Director’s Cut.
That said, there are a couple of memorable additions, such as a violent confrontation between Lambert and Ripley which proves girls don’t stick together aboard the Nostromo. The most drastic new addition is the cocoon sequence, where Ripley happens upon Dallas in the bowels of the Nostromo, looking a little worse for wear as he’s transformed into one of the eggs we see on the space jockey’s ship. It’s a neat cyclical reproductive cycle, but makes no sense in context of the rest of the series – namely Aliens where we see the Queen laying these eggs. Watch once to satisfy your curiosity, but then stick with the original version, both available in gorgeous HD on the Alien Legacy box set (you listening, Lucas?)
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