Mathilda

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9.5 (3)
 
9.8 (22)
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Faneditor Name:
Original Movie/Show Title:
Fanedit Type:
Original Release Date:
1994
Original Running Time:
133 minutes
Fanedit Release Date:
Fanedit Running Time:
110 minutes
Subtitles Available:
Available in HD:
image
Synopsis:
This is Luc Besson's "Leon" re-framed to be more Mathilda-centric, with Leon's story revealed more slowly, but also in a more ambiguous way. What brought him to this moment? You decide. Featuring many songs from the 80's and 90's, and leaning heavily into female vocalists, the soundscape taps onto Mathilda's motivations and emotional states at key moments in the story.
Intention:
I enjoyed Leon immensely in my 20's, and I still have the black overcoat to prove it, but the overtly romantic moments between this man and this 12 year old girl always left me with discomfort. After learning more about the original intentions of the story, the way Jean Reno and Natalie Portman's parents pushed Besson to avoid the romance angle, and the way the actors were largely tricked into filming the scene where Leon and Mathilda discuss having sex, I wanted to create a cut of the film that removed as much of that as possible. In this edit, 12 year old Mathilda recognizes she's falling for Leon, but it goes no further than that. When they profess their love for each other in the closing moments, it's a genuine love born of shared experience and kinship.
Other Sources:
La Femme Nikita (Blu-ray)
Special Thanks:
This edit is perfect expression of what I wanted to create back in February, but I lost my way a bit along the way. @ArtisDead brought me back from the edge and worked very hard (and with great patience) to help me fill out the musical soundscape and hit all the right notes. He provided insight along the way, motivated me, and pointed me towards the perfect music for the trailer and some key moments in the film. As a result, I feel @ArtisDead deserves editor credit for this release.

Additional thanks go to @FrameSniffer who previewed an early copy and provided the objective ear the work needed. He deserves an award for sitting through an early cut of this movie that featured no less than 30 minutes of Bjork.
Release Information:
Digital
Cuts and Additions:
* FE warning / logo, custom credit title.
* Removed opening scene at Supreme Macaroni (moved further down the timeline).
* Removed the entire "Fat Bastard" scene. We begin to learn about the nature of Leon's work later.
* Shortened title sequence.
* New music during initial titles ("Leon's theme").
* Different music for Mathilda's introduction.
* Mystery dream/flashback...
* Leon's apartment montage removed. We primarily stay with Mathilda for this opening section, but one shot of Leon in the shower is added to the "next day" scene as we transition to Leon.
* Shortened antics with the "pig".
* Mystery dream/flashback...
* When Leon leaves the apartment, he goes to see Tony instead of seeing Singing in the Rain.
* Leon's meeting with Tony adjusted to be vague about talking "business", and whether Leon is "free on Tuesday".
* Different music while leaving home #1.
* Different music during training montage.
* Removed over-sized bras from training montage.
* Removed "the game".
* Removed all discussion around Mathilda's age. Nobody pretends she's 18.
* During discussion with hotel manager, removed "He's my lover". He draws that (false) conclusion without being told.
* Different music when Mathilda follows Stansfield in the taxi.
* When Leon returns with a present, we don't see what it is. The dress is completely removed from the movie. He's interrupted by the hotel manager.
* Different music while leaving home #2.
* Tony no longer warns Leon about being "careful with women"
* During "Russian Roulette":
* Removed "I want love or death".
* Removed "...for life" (instead she just says, "You keep me with you.")
* During meeting with Tony, fixed the actor jumping his cue.
* Different music during the first job.
* During "fine dining":
* Removed Mathilda forcefully trying to kiss Leon.
* Shortened Mathilda's laughing.
* Added music (Beethoven).
* Different music during assassination montage.
* Removed "faggot" from the dude's diatribe.
* Removed discussion around growing up and getting older, as it's only relevant in the context of a romantic relationship.
* Different music when Mathilda is alone in the apartment.
* Removed "...my love" from Mathilda's letter.
* Mathilda no longer says, 'I love you' in the letter. Just ends on, "I'll know I'll feel better after I do this".
* Different music when Mathilda goes to the DEA building.
* The scene where Mathilda and Leon discuss having sex is removed.
* Mystery dream/flashback...
* Waking up in the same bed is removed. We see Leon wake up, but Mathilda is not there (she's gone for groceries).
* Moved reminder of "the code" to an earlier scene.
* Different music during "The Assault".
* Different music when Leon is shot from behind.
* Different music during final scene with Mathilda and Tony.
* Different music on the way back to the Spencer school.
* Removed meeting with School principle at the end. We're music-only after the scene with Tony.
* Closing shot changed; we now end on tableaux of Mathilda / Pot / Plant (in the ground) instead of the skyline shot.
* Added movie title after closing shot.
* Special thanks...
* Removed blue tint from end credits.
Trailer

Faneditor Name:
Original Movie/Show Title:
Fanedit Type:
Original Release Date:
1994
Original Running Time:
133 minutes
Fanedit Release Date:
Fanedit Running Time:
110 minutes
Subtitles Available:
Available in HD:
image
Synopsis:
This is Luc Besson's "Leon" re-framed to be more Mathilda-centric, with Leon's story revealed more slowly, but also in a more ambiguous way. What brought him to this moment? You decide. Featuring many songs from the 80's and 90's, and leaning heavily into female vocalists, the soundscape taps onto Mathilda's motivations and emotional states at key moments in the story.
Intention:
I enjoyed Leon immensely in my 20's, and I still have the black overcoat to prove it, but the overtly romantic moments between this man and this 12 year old girl always left me with discomfort. After learning more about the original intentions of the story, the way Jean Reno and Natalie Portman's parents pushed Besson to avoid the romance angle, and the way the actors were largely tricked into filming the scene where Leon and Mathilda discuss having sex, I wanted to create a cut of the film that removed as much of that as possible. In this edit, 12 year old Mathilda recognizes she's falling for Leon, but it goes no further than that. When they profess their love for each other in the closing moments, it's a genuine love born of shared experience and kinship.
Other Sources:
La Femme Nikita (Blu-ray)
Special Thanks:
This edit is perfect expression of what I wanted to create back in February, but I lost my way a bit along the way. @ArtisDead brought me back from the edge and worked very hard (and with great patience) to help me fill out the musical soundscape and hit all the right notes. He provided insight along the way, motivated me, and pointed me towards the perfect music for the trailer and some key moments in the film. As a result, I feel @ArtisDead deserves editor credit for this release.

Additional thanks go to @FrameSniffer who previewed an early copy and provided the objective ear the work needed. He deserves an award for sitting through an early cut of this movie that featured no less than 30 minutes of Bjork.
Release Information:
Digital
Cuts and Additions:
* FE warning / logo, custom credit title.
* Removed opening scene at Supreme Macaroni (moved further down the timeline).
* Removed the entire "Fat Bastard" scene. We begin to learn about the nature of Leon's work later.
* Shortened title sequence.
* New music during initial titles ("Leon's theme").
* Different music for Mathilda's introduction.
* Mystery dream/flashback...
* Leon's apartment montage removed. We primarily stay with Mathilda for this opening section, but one shot of Leon in the shower is added to the "next day" scene as we transition to Leon.
* Shortened antics with the "pig".
* Mystery dream/flashback...
* When Leon leaves the apartment, he goes to see Tony instead of seeing Singing in the Rain.
* Leon's meeting with Tony adjusted to be vague about talking "business", and whether Leon is "free on Tuesday".
* Different music while leaving home #1.
* Different music during training montage.
* Removed over-sized bras from training montage.
* Removed "the game".
* Removed all discussion around Mathilda's age. Nobody pretends she's 18.
* During discussion with hotel manager, removed "He's my lover". He draws that (false) conclusion without being told.
* Different music when Mathilda follows Stansfield in the taxi.
* When Leon returns with a present, we don't see what it is. The dress is completely removed from the movie. He's interrupted by the hotel manager.
* Different music while leaving home #2.
* Tony no longer warns Leon about being "careful with women"
* During "Russian Roulette":
* Removed "I want love or death".
* Removed "...for life" (instead she just says, "You keep me with you.")
* During meeting with Tony, fixed the actor jumping his cue.
* Different music during the first job.
* During "fine dining":
* Removed Mathilda forcefully trying to kiss Leon.
* Shortened Mathilda's laughing.
* Added music (Beethoven).
* Different music during assassination montage.
* Removed "faggot" from the dude's diatribe.
* Removed discussion around growing up and getting older, as it's only relevant in the context of a romantic relationship.
* Different music when Mathilda is alone in the apartment.
* Removed "...my love" from Mathilda's letter.
* Mathilda no longer says, 'I love you' in the letter. Just ends on, "I'll know I'll feel better after I do this".
* Different music when Mathilda goes to the DEA building.
* The scene where Mathilda and Leon discuss having sex is removed.
* Mystery dream/flashback...
* Waking up in the same bed is removed. We see Leon wake up, but Mathilda is not there (she's gone for groceries).
* Moved reminder of "the code" to an earlier scene.
* Different music during "The Assault".
* Different music when Leon is shot from behind.
* Different music during final scene with Mathilda and Tony.
* Different music on the way back to the Spencer school.
* Removed meeting with School principle at the end. We're music-only after the scene with Tony.
* Closing shot changed; we now end on tableaux of Mathilda / Pot / Plant (in the ground) instead of the skyline shot.
* Added movie title after closing shot.
* Special thanks...
* Removed blue tint from end credits.
Trailer

Trusted Reviewer reviews

3 reviews
Overall rating
 
9.5
Audio/Video Quality
 
9.7(3)
Audio Editing
 
8.7(3)
Visual Editing
 
10.0(3)
Narrative
 
9.7(3)
Enjoyment
 
9.3(3)
Overall rating
 
9.5
Audio/Video Quality
 
10.0
Audio Editing
 
8.0
Visual Editing
 
10.0
Narrative
 
10.0
Enjoyment
 
10.0
The idea of refocusing the story on Mathilda works wonders. The changes at the start also improve the character arc of Leon, he’s more mysterious and unknowable now.

The intent of removing the many moments that were just way too creepy and cringe has been fulfilled; these changes in no way worsen the main story beats, and the film becomes a lot easier to watch.

The training montage was the highlight of the edit, perfectly edited and scored.

The score changes all worked well. I’ve noticed a few dialogue lines that became a bit too quiet because of the new songs, but nothing major.

User Review

Do you recommend this edit?
Yes
Format Watched
Digital
Comments (0) | Was this review helpful? 3 0
Overall rating
 
9.2
Audio/Video Quality
 
10.0
Audio Editing
 
8.0
Visual Editing
 
10.0
Narrative
 
9.0
Enjoyment
 
8.0
QUALITY
Quality is excellent considering the file size.

VISUAL EDITING
Visual cuts are seamless. Newly added dream segments are nicely put together. One very slight nitpick:

- At 7:00 the footstep foley seemed slightly out of sync with the visual

AUDIO EDITING
In terms of transitioning from scene to scene and trims to dialogue, cuts are seamless. The rescoring was largely good but a bit of a mixed bag for me for a combination of technical and narrative reasons (more on that later).

- 37:50 - not actually sure if this is futon or not, as I couldn't see it on the cutlist, but music starts to fade in here and it clashes with the strings playing in the background of the scene.
- 41:30 - this montage has incomplete sound design which unfortunately betrays the music swap. Eg. There's a sound when Matilda puts the bag on the counter, but not when she takes something out the bag and puts it down. There's an isolated clink as she puts the glass on the drainer at 41:32 but otherwise there doesn't seem to be any foley here. The tap is running water and there's no sound from that or as it runs over the bowl. This would work fine without any sound design as a montage IMO, but having limited sound design betrays the foley.
- At 41:54 the dialogue is obscured by the music.
- 55:08 - a bit jarring that the music volume increases as the hotel clerk speaks. Feels unnatural and not an ideal place to shift the volume.
- The door chain sfx that have been chosen for the sweet dreams segment doesn't sound right to me. It may be because we hear the chain, but we don't hear it rattle against the door, or it may be the sound itself is just to bright and weightless. The foley just seems a bit empty here.

I should say that there is a lot of rescore work on the edit and a lot of it works very well. Keeping the film in surround is also commendable (I watched it mixed down on a 3.1 setup, so can't fully judge, but it seemed to work well). Sometimes the issue is Leon, who is quite softly spoken and has a thick accent, and so it's easy for the music to get in the way of his lines. Without subtitles, I wasn't able to comprehend what he was saying at points.


NARRATIVE
It's been a while since I've seen the original and an even longer while since I've seen Nikita. I presumed the black and white sections were created for the edit, but they fit well on a technical level. Narratively, I didn't really get what their significance was or what they added in the context of Leon's narrative. I presumed it was probably footage from Nikita, but I can't remember the context for those clips.

- 15:00 - this an observation, not a criticism: The context of this scene seems to demand Beethoven, so I assumed futon88 had swapped it for different music. But nope, that's the original score! Bizarre. I think there was a missed opportunity here, as it would have made more sense for Beethoven to score the scene if that's what Oldman is "dancing" to.
- Given the concept of the edit, I was surprised to see Mathilda still confess she's in love with Leon. I don't have an issue with it, but it's interesting that it's kept in. Generally, the awkwardness of that plot element is toned down significantly, as was the aim of the edit.

Subjectively, I didn't mind the music itself, but I thought there were sometimes odd choices for the scenes and they could be distracting. During montages? Not so much. But Sweet Dreams during the "training" segment and the Kate Bush scene didn't seem to fit for me. Part of it is it just being marginally (marginally) louder than needed, and part of it is being vocal-driven music during scenes of dialogue. I like both songs, but in the context of those scenes I just felt like they hindered the film conveying information. The instrumental pieces used, on the other hand, worked very well.

ENJOYMENT
A well-done edit and an enjoyable alt experience. 20 minutes cut and it doesn't seem to create any problems for the narrative; keeping things mostly from Matilda's perspective works well. Dream segments seemed superfluous and some music choices were a hindrance. The original film is fine from my memory and, apart from the awkwardness of Mathilda's feelings for Leon, I didn't think it really needed an edit. I think if Futon's edit had solely focused on toning that element down but without the other changes, it may have worked better for me.

On a subjective level (and unrelated to the main edit), not really a fan of having trailers at the start of fanedits as part of the same file. There's only one here, but I hope it doesn't become a trend. I have to deal with skipping past trailers on my home media discs and I don't want that to be a thing with fanedits (and it also contributes to the file size). I think it's different with a concept edit like a Grindhouse, where throwing trailers in an interval is part of the experience.

Anywho, well done, futon and thanks for sharing!

User Review

Do you recommend this edit?
Yes
Format Watched
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Owner's reply June 04, 2023

Thank you for taking the time to watch this and leave such a detailed review. This type of feedback is priceless to me.

I'll respond to some of your notes below.

37.50 - Yes, that goof was me. I added some Italian strings to the scene to reinforce a pattern in those settings (I invented a story that the dad in the background loves Scarlatti). I agree that the transition isn't seamless. I could likely roll the music some to find a better transition point, or possibly just make it much quieter.

7:00 - I've watched this a few times, and they seem in sync to me, but the problem may be that I've aligned to his heels instead of the shoe falling...It's hard to know what to do when the walking is in slow motion. Technically, the sound doesn't even make sense (I did pitch shift it lower to convey his weight, but not to make it sound slowed down).

41:30 (Foley stuff)

I think this is a case of not making the SFX loud enough. I added foley for her pulling the bread out of the bag and slapping it down, but it's *very* quiet (I recorded myself playing with some cellophane). Same for when she's washing the dishes. There's foley for tap running, the bowl filling with water, and also for when it overflows (in addition to the clink you noticed). I even did subtle wiping sounds for when she's wiping the gun. It's all very clear in my headphones, but it seems to not have translated to your 3.1 setup. I think my takeaway is that I just need to make those sounds *much louder*, even if it's technically unnatural. I've been learning more about foley recently, and it really is remarkable just how loud the sounds are (sometimes in a really unnatural way), but we've been sort of trained to hear it that way.

41:54 - You're absolutely right. I'm still learning about music ducking...I should have brought it down here for the dialogue.

55:08 - Subjectively, the timing of this one felt good to me, but it's definitely hard to know when to make that kind of shift. In general, is it best to wait until the final word is spoken before raising the music? I experimented with it that way, but then the cut to the next scene (city) felt flat. Like it felt like the music should be full volume on the cut...Of course I'm adding music to a transition that didn't originally have it, so maybe I should have focused more on the scene timing itself. (On a related note, I'm happy you didn't notice the removal of the dress in this scene! It was tricking getting the timing right)

(sweet dreams foley)

Yeah, this was an interesting challenge. The scene is from the International Cut, and to me it feels very unfinished. The music sounds like a temp track (and not part of Serra's score), and the sound effects were strangely empty. If you have your bluray handy, it starts at 1:21. There are sounds for chains, doors, and bolt cutters, but nothing for any of the doorbells, and also no reaction sounds from the people. In an early workprint I went for parity, but it just didn't sound right, so I went further and added sounds for all of the effects. I do think the original chain/door/blolt cutter sounds are better, though. I struggled to find SFX with enough depth.

"Narratively, I didn't really get what their significance was or what they added in the context of Leon's narrative."

I was aiming for ambiguity, and trying paint a loose picture of a past life in Europe that held no joy for Leon, only pain.

The first clip paints a picture of violence, but also perhaps romance. I kept Leon obscured so that we're left wondering who he is. I was also trying to make it seem like this was the Dad's dream, since he knew they were coming for him the next day. We only learn in retrospect that it was Leon's dream.

(Regarding that first clip, I also loved the juxtaposition of the man having his head pulled backwards and the mom performing the same action as she gargles mouthwash!)

In the second clip we clearly see Leon, but it's not yet clear this is Leon's dream (as we fade to black on Mathilda). This dream conveys maybe the start of a date, but then it takes a turn when we see the woman crying, then his quick shot with the pistol betrays the romance and we cut to Leon (who proceeds to get a pistol of the same make and model!).

In the third clip we see that it wasn't romance at all. He was only there to be a "cleaner", and the fact that the body wasn't actually dead when he starts pouring the acid makes the experience especially dreadful.

What I was trying to convey is that his life was pure misery until he met Mathilda and started seeing things a different way again.

15:00 (Beethoven) - Trust me, I considered it! But this bit if Serra's score is just so gorgeous and singular! I love it far too much to replace it.

" I was surprised to see Mathilda still confess she's in love with Leon."

I agree I could have gone further with the removal, but I like that she recognizes she's developing feelings for him, and I like how candid she is about it. I wish adults were more forthcoming with their feelings. It also allowed me to keep the choking-on-milk gag. He chokes the first time when she says, "cute name", and the second time when she says, "...I think I'm falling in love with you".

"Kate Bush scene didn't seem to fit for me"

This was me getting absolutely obsessed with the lyrics! So much of it aligns:

"One hand clapping" when she slaps in the magazine.
"Where on your palm is my little line" as she's twisting the silencer into the pistol.
All of the "nanananas" align to when the dude is trying to speak but can't (gun in mouth or just nobody listening).
We hear "I'll be sitting in your mirror right" as he's dragged in front of a mirror in the hallway.

I could go on, but I think my lesson here is to not commit to a song just because the lyrics work. The tone needs to work too, but more importantly it can't interfere with the story being told.

"On a subjective level (and unrelated to the main edit), not really a fan of having trailers at the start of fanedits as part of the same file."

This is a fair point, and the trailer is time-sensitive, so to speak. My plan is to share a feature-only version down the road. I learned so much with the rest of "the crew" as I worked on my Jackie Brown edit (not out yet), and I was honoured when they asked me to place the Tarantino Tales teaser at the front of Mathilda.

---

Thank you again for so much detail. I can learn a lot from this.

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Overall rating
 
9.8
Audio/Video Quality
 
9.0
Audio Editing
 
10.0
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10.0
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10.0
Enjoyment
 
10.0
Best in class work here from futon88. Audio quality is perfect. Video is excellent with only very minor color banding a few times. At first I thought removing any of the international cut scenes would be blasphemy. This is actually a stronger story by keeping exactly what the editor retained from the international cut and removing what he did. The hitman, Leon, is now a more mysterious individual and the newly created dreams he has are so beautifully done. The added music for Mathilda is of professional quality with the hand audio ducking and EQ work; the changes work well, improving the scenes, especially the Mathilda hitgirl in training montage. The subtle cuts to the ending make it just right without the odd narratives Luc Besson gets stuck inside. Now that there is an improved, more subtle version of Leon: The Professional I've come to realize how cartoonish and unrealistic the original was. I do highly recommend this edit.

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9.6(22)
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9.6(22)
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I recently watched "Mathilda," the fan edit of "Leon: The Professional," and very much enjoyed it. I have been a fan of this film since it came out and like many fans, I have longed for a sequel with the obvious title "Mathilda: The Professional" that would show her as an adult. The storyline with Danny Aiello was never resolved, and seeing Natalie Portman take on her first role again would have been a treat. We now know that it was never made because the rights are tied up and will probably never get back into director Luc Besson’s hands again. Danny Aiello is dead now, and Natalie Portman is getting up there in age, so I think that the time has passed. So it was cool to see a fan edit that uses the title. Telling the story from Mathilda’s point of view was an original take. I can understand why someone would want to tone down the sexualization of the 13-year-old Portman. Although it’s an impossible task to remove it completely because of her wardrobe. There is a scene where Leon and Mathilda are staying in a hotel, and she insinuates to the manager that the two are not father and daughter but lovers. The line “He's my lover” was removed, so now she just says “He's not my father.” The rest is implied. I can see why the editor did not remove this entire scene because there has to be a reason for them getting kicked out of the hotel, but he did his best to make it less creepy.

The most significant change for me was the addition of new music. This was the part I really enjoyed. The new songs are flawlessly put in, so much so that they seem like they always belonged there. The new songs are also from that era, making it even cooler and harder to remember if they were new or old. Sting’s “The Shape of My Heart” is a good song, but I never felt that it was a great track for this movie as it didn’t really describe Leon very well. The sad Sarah McLachlan track the editor used for the end works better for me, especially because this is Mathilda’s story.

Overall, this is an edit that breathes new life into an old film and lets me enjoy it in a new way. Kudos for the nice cover art as well. Recommended.

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Yes
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Overall rating
 
9.7
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10.0
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10.0
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10.0
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9.0
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9.0
Finally, I can watch LEON without feeling awkward
If you want to introduce your friends to this movie this is the version for you, cutting all the sexual moments between an older man and 12 years old girl is a welcomed thing but this fan edit goes beyond that and adds great OST and makes the character of Leon more mystery although I don't get why to cut the moment leon talks on his first killing mission, sure he tells it in a scene with a sexual tone but I still think you can cut the sexual tone out of this scene.

Overall this is the best version of the film, I usually don't like fan edits for films that are high-rated (corrently number 35 on IMDb)
because you might find yourself messing with something that was already perfect or close to that, but this is an exception

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Leon: The Professional has been one of my absolute favorite movies since I was a young teen. My first real screen name was "the professional###" with my bday plugged in. So hopefully you will take my review for what it's worth when I say you have actually managed to improve one of my favorite movies!

99% of the time when someone changes the soundtrack I appreciate the effort that went in but I hate the changes because my brain can't wrap itself around how different the scene is. Here every single song was so perfect that I honestly couldn't even remember if it was in the original scene or not, except for Shape of my Heart at the end! Very impressive.

Excising as much of the creepy horny 12yo stuff was a great move, and knowing that Luc Besson wrote a sex scene where Leon simply can't resist her advances, and knowing that Besson dated his wife when she was 15 and knocked her up at 16 while he was 32 makes it even creepier. Thank you for fixing that stuff so I can enjoy the movie as guilt-free as possible.

Also I'm very impressed with the length of the movie given how much was removed. Excellent scene choices, and I really felt like this was Mathilde's movie in the end.

Hands down one of my favorite edits on this entire site.

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Yes
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Overall rating
 
8.8
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9.0
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8.0
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9.0
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9.0
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9.0
Léon is a movie I haven't seen in a very long time. It's a fine piece of filmmaking, to be sure. It made a bona-fide star of Jean Reno in America, introduced the world to Natalie Portman, and solidified Gary Oldman as one of Hollywood's most reliable villainous powerhouses. But it wasn't without its issues, not least the pseudo-romantic thread running through it, which is even creepier when one considers writer-director Luc Besson's inspiration for the movie.

This edit does a wonderful job of excising the remaining vestiges of the romance while creating an aura around Léon that wasn't there in the original. Less isn't necessarily always more, but in the case of Léon, it is most certainly the case.

The editing is mostly seamless, with some of the trickier edits done with aplomb, and the replacement music is well-chosen and works brilliantly to enhance the viewing experience. Some of the foley work could do with boosting in spots where replacement music has been used, but otherwise it's a damn fine edit of an already damn fine movie.

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9.0
Mathilda
I went into that edit without having seen the original movie. I must say it felt pretty seamless and well executed. Not knowing the story or how the movie was originally edited, it’s hard to tell if this edit makes it better or fixes any issues. But the truth is that Futon and ArtisDead’s version is great! Audio and video quality is excellent and the story feels natural and flowing easily through the movie (I am watching on a stereo setup). I really feel like I’m following Mathilda’s story and I believe that was the main approach as far as reframing the narrative goes. There are a lot of pop songs from that era in this edit but they suit the narrative and the training montage is great with that Patti Smith song. Overall I’d say this is an enjoyable 1h48 movie, well paced and engaging.
Mathilda is also well-structured. Character introduction, first plot point, character evolution, and so on. Everything is following a clear narrative, we are never lost. I was taken out for a brief moment at the end when I was served the same aerial shot of central park a second time. But all this is just me nitpicking what is in fact a great edit.

(I’m going to watch the original now and compare my notes)

I think I understand most of the choices regarding Mathilda’s edit. Removing the opening scene with Leon and the cringier stuff between the two characters is a good choice. It changes a little bit how I perceive the characters. But I don’t think it takes away anything from the movie. Mathilda feels a bit more like a lost soul, Leon a little less.
I must admit I like the original score. Having music without lyrics acts more like a supporting device than a moving one. I felt less guided watching the original when it came to music. The Mathilda edit feels more modern in that aspect. In fact it feels more modern in its narrative as well. So good job for bringing this movie to the 21st century guys!

Now where are the dream sequences? I didn’t realize until just now what is actually going on here! Nice work, it blends well and adds a little something. I wish it could have been done to Mathilda’s character instead but I acknowledge the execution and the research that went into it. Two thumbs up!
How did you remove the title in that flyby sequence?!
9/10 Enjoyment is because I liked the original score and the more fleshed out Leon. All the other stuff brings it back to a 9.

Okay.

User Review

Do you recommend this edit?
Yes
Format Watched
Digital
Owner's reply June 09, 2023

"How did you remove the title in that flyby sequence?!"

I snipped out the bit that shows "LEON" in the sky, After that fades out, there is about 2 seconds before the shot changes, so I slowed that down with Topaz to give myself enough time for my own title. Then I hid the original snip with a crossfade as the camera pans up from the trees. Then I added my own title and timed it to the music. I also added chromatic aberration to the title in an effort to match the original.

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