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- The Man Who Fell To Earth 1976 Cinema V US edit
The Man Who Fell To Earth 1976 Cinema V US edit
Updated
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Faneditor Name:
Original Movie/Show Title:
Genre:
Fanedit Type:
Original Release Date:
1976
Original Running Time:
139 minutes
Fanedit Release Date:
Fanedit Running Time:
119 minutes
Time Cut:
20 minutes
Time Added:
0 minutes
Subtitles Available:
Available In:
HD
Additional Links:
Contact:
Synopsis:
This fanfix/ preservation will restores the original 1976 Cinema V US edit that was cut by 20 minutes for its initial release, and which was never seen again after the director’s cut became available in 1993.
When Nicolas Roeg delivered his original cut of The Man Who Fell to Earth to Paramount, who had bought the US rights for $1.5 million, they refused to go ahead, saying it wasn’t what they paid for, Barry Diller accusing it of not being “linear.” The small distribution company Cinema V stepped in and acquired the film for $850,000, but after a so-so test screening at Dartmouth College, they cut 20 minutes before releasing it in US theatres. They eventually managed to recoup their smaller investment.
That version was released on VHS in 1980, 1985 and again in 1988 by Colombia. In 1993 Criterion restored the director’s cut and that version has since been the one used for all theatrical and home video releases. I actually saw the original version 4 times in a San Diego multi-plex that summer (Pacific 3 in Mission Valley) - it captivated me the way few films had up to that point. I wanted to see how it held up with the missing footage and if it still had the power it had back in 1976 without the restored footage.
I'm using as my main source the original 1980 VHS issue on RCA/ Columbia before the restored version superseded it in 1993.
When Nicolas Roeg delivered his original cut of The Man Who Fell to Earth to Paramount, who had bought the US rights for $1.5 million, they refused to go ahead, saying it wasn’t what they paid for, Barry Diller accusing it of not being “linear.” The small distribution company Cinema V stepped in and acquired the film for $850,000, but after a so-so test screening at Dartmouth College, they cut 20 minutes before releasing it in US theatres. They eventually managed to recoup their smaller investment.
That version was released on VHS in 1980, 1985 and again in 1988 by Colombia. In 1993 Criterion restored the director’s cut and that version has since been the one used for all theatrical and home video releases. I actually saw the original version 4 times in a San Diego multi-plex that summer (Pacific 3 in Mission Valley) - it captivated me the way few films had up to that point. I wanted to see how it held up with the missing footage and if it still had the power it had back in 1976 without the restored footage.
I'm using as my main source the original 1980 VHS issue on RCA/ Columbia before the restored version superseded it in 1993.
Intention:
INTENTION:
When Nicolas Roeg delivered his original cut of The Man Who Fell to Earth to Paramount, who had bought the US rights for $1.5 million, they refused to go ahead, saying it wasn’t what they paid for, Barry Diller accusing it of not being “linear.” The small distribution company Cinema V stepped in and acquired the film for $850,000, but after a so-so test screening at Dartmouth College, they cut 20 minutes before releasing it in US theatres. They eventually managed to recoup their smaller investment.
That version was released on VHS in 1985 and again in 1988 by Colombia. In 1993 Criterion restored the director’s cut and that version has since been the one used for all theatrical and home video releases.
But there was a sizeable generation who came to know and love this film in that original bastardized version, including the current writer who saw it in a San Diego tri-plex 4 times that summer. When I finally caught up with it again years later the extra footage, including the rather startling pistol-and-penis scenes between Bowie and Clark, seemed out of place and in a way reduced the evocative mysteries of the film, giving image to some of the elliptical storytelling beats we’d filled out in our heads, especially during the last 30 minutes. In a way akin to the extra footage of Kurtz at the end of Apocalypse Now making him less enigma and more a simple madman.
I still love the film, but like Apocalypse Now, is more necessarily better? Major edits were made primarily to a handful of scenes by screenwriter Robert Young and editor Ed Beyer at the direction of Cinema V owner Donald Rugoff, as well as dozens of smaller snips throughout. Rugoff had showed both versions to Dr. Richard C. Simons, a member of the Department of Psychiatry at the University of Colorado Medical Center who was also a friend for input as to if he’d possibly hurt the film.
He reportedly liked the original until the end. “I felt the whole thing began to deteriorate. I couldn't grasp where it was going. I told Rugoff I thought it was a disaster,” Simons said. When Rugoff showed him the cut version: “It was amazing. I had a completely different reaction. All the scenes I had trouble with had been eliminated.” Roeg’s fondness for excessive details and emotional nuance had been replaced by a faster headlong rush to the ending– the man had fallen to Earth and he wasn’t going to get back up.
When Nicolas Roeg delivered his original cut of The Man Who Fell to Earth to Paramount, who had bought the US rights for $1.5 million, they refused to go ahead, saying it wasn’t what they paid for, Barry Diller accusing it of not being “linear.” The small distribution company Cinema V stepped in and acquired the film for $850,000, but after a so-so test screening at Dartmouth College, they cut 20 minutes before releasing it in US theatres. They eventually managed to recoup their smaller investment.
That version was released on VHS in 1985 and again in 1988 by Colombia. In 1993 Criterion restored the director’s cut and that version has since been the one used for all theatrical and home video releases.
But there was a sizeable generation who came to know and love this film in that original bastardized version, including the current writer who saw it in a San Diego tri-plex 4 times that summer. When I finally caught up with it again years later the extra footage, including the rather startling pistol-and-penis scenes between Bowie and Clark, seemed out of place and in a way reduced the evocative mysteries of the film, giving image to some of the elliptical storytelling beats we’d filled out in our heads, especially during the last 30 minutes. In a way akin to the extra footage of Kurtz at the end of Apocalypse Now making him less enigma and more a simple madman.
I still love the film, but like Apocalypse Now, is more necessarily better? Major edits were made primarily to a handful of scenes by screenwriter Robert Young and editor Ed Beyer at the direction of Cinema V owner Donald Rugoff, as well as dozens of smaller snips throughout. Rugoff had showed both versions to Dr. Richard C. Simons, a member of the Department of Psychiatry at the University of Colorado Medical Center who was also a friend for input as to if he’d possibly hurt the film.
He reportedly liked the original until the end. “I felt the whole thing began to deteriorate. I couldn't grasp where it was going. I told Rugoff I thought it was a disaster,” Simons said. When Rugoff showed him the cut version: “It was amazing. I had a completely different reaction. All the scenes I had trouble with had been eliminated.” Roeg’s fondness for excessive details and emotional nuance had been replaced by a faster headlong rush to the ending– the man had fallen to Earth and he wasn’t going to get back up.
Other Sources:
-Restored Cinema V logo from HBO Video’s Pumping Iron DVD (this logo only appeared on a couple home video releases as far as I could find).
-Criterion’s laserdisc of TMWFTE’s inner sleeve as initial guide and inspiration to which scenes were excised or shortened. (I believe this was the only time details of the changes were explicated since the release for the benefit of that edition.)
-My primary source – an original 1980 Columbia Pictures Home Entertainment VHS issue as reference copy, and for audio source for Auden voiceover and harp glissando when Newton escapes (added).
-Criterion’s laserdisc of TMWFTE’s inner sleeve as initial guide and inspiration to which scenes were excised or shortened. (I believe this was the only time details of the changes were explicated since the release for the benefit of that edition.)
-My primary source – an original 1980 Columbia Pictures Home Entertainment VHS issue as reference copy, and for audio source for Auden voiceover and harp glissando when Newton escapes (added).
Special Thanks:
Special thanks again to WXM for technical input, image-fixing (including the elusive Cinema V logo card) and second-eyes on frame-counting. An okay-okay! to Bruce Virus 23 who insisted I do this so he could see this version again too.
Release Information:
Digital
Special Features:
Short demo at end (2 minutes 14 seconds) showing the only added footage to the "shorter" cut, two shots in the scene in which Mary Lou takes care of Newton on the bed have been extended for the purposes of a dissolve that hides some excised footage. This is the only "new" footage added to the shorter cut and effectively adds 1 second to the run time.
Cuts and Additions:
LIST OF CUTS IN CINEMA V EDIT: (all times refer to full original runtime)
17.39 Shot of Icarus painting in Masterpieces in Paint and Poetry book cut. Inserted here is close-up of picture and pan to Auden poem (with added female voice reading poem) from 21.57, about 4 minutes later.
21.29 After Farnsworth tells Newton on the phone “There’s virtually no bottom” the scene in which Brice opens the book (and we see the cover) before looking at the Auden poem is cut (28 seconds). Auden poem shot moved to earlier as noted.
29.01 Scene in which Mary Lou takes care of Newton on bed: shot of her in bathroom getting towels is shortened from 6 seconds to about 1; an additional new shot of Newton on the bed has been added (about 4 seconds), which dissolves into a longer shot of Mary Lou (longer by about 3 seconds) straightening up than in the original.
(This is the only additional footage added to the Cinema V cut, about 4 seconds of Bowie on the bed and 3 seconds of Mary Lou before straightening up. Because they’re used for the purposes of a dissolve they barely add 1 second of new actual running time.)
29.07 The original intercuts a sequence with Brice having sex with two different co-eds (“You’re not at all like my father”) with additional shots of Mary Lou administering to Newton which has been cut (1min 37 seconds). Three intercut shots of May Lou dabbing Newton’s nose cut. At end of co-ed sequence original Newton jerking awake over a buzzing sound is cut.
33.03 Newton lays head on bed and looks at Mary Lou less than a second longer: her question “What do you do?” line before “For a living, I mean” is cut making the second line a bit confusing.
36.40 Newton talking to Farnsworth on phone. His line “My life is not secret, Mr. Farnsworth but it is private” now plays over the next shot of Farnsworth so he doesn’t seem to pause so long before hanging up. This also removes the end of the shot of Newton with the added business of him putting on his glasses after squinting towards the o.s. window (7 seconds cut).
37.33 Scene of Brice leaving his school with papers blowing cut short by about 48 seconds. Lines cut include “My mind had developed a libido of its own,” mentions of a salary 3x bigger and of his dabbling in “heat photography” which sets up his secret photo of Newton later.
38.26 Shot of Brice walking out of the airport and subsequent back of car with Albuquerque plates before it pulls away from the curb shorter (about 20 seconds)
43.20 Mary Lou in tub, a couple shots, the “Are you hiding out?” exchange cut. After “I’ll guess I’ll do for now, won’t I?” 4-second shot of her dunking back in the water cut (total 29 seconds gone).
46.45 Mary Lou reminiscing about trains is shorter by a couple shots (and audio has been partially kept and plays over the face of Newton o.s.). (26 seconds shorter).
58.23 Hanging shiny banner in middle of sex/telescope montage bit cut (about 5 seconds).
1.01.18 TV montage shortened by a few shots (21 seconds).
1.03.16 After TV montage, fade-to-black at end cut. Now hard cut to pan towards Brice’s trailer without static hold at beginning of pan movement (3 seconds).
1.03.45 Brice’s phone call: a short exchange with Farnsworth about liquid gas, after complaining about not knowing what he’s to do, cut (12 seconds).
1.04.30 Last close up of cricket trimmed by 2 frames (?). Possibly just a reel-change trim or for audio sync purposes.
1.07.16 When Brice enters the limo to meet Newton for the “first” time, scene is shortened: Brice’s line about having a “common interest” and Newton’s lines about “transference of energy” and “I thought about you once or twice” (perhaps referring to the intercut co-ed scene earlier which suggested some psychic connection) are cut. Subsequent shot of limo driving through gates shortened a bit at beginning. (About 30 seconds in total.)
1.22.47 Shot of Newton stewing right before he hits the cookie tray shortened (4 seconds).
1.25.26 End of shot of Mary Lou urinating in fear cut (4 seconds).
1.38.27 Space launch montage sequence shortened by about 1 minute with minor cuts (duplicates of shots are in original). Newton’s instruction 1.39.28 to Arthur in the car to go to the house cut.
1.39.43 Scenes driving to the gas station where Newton’s abducted eliminated, while his “Where are you taking me?” and “Arthur!” shots used in different spots during subsequent Farnsworth attack. (About 45 seconds lost.)
1.44.02 Short domestic scene as Peters and his wife puts their kids to bed cut (20 seconds).
1.48.01 Newton’s nipples cut off (start of shot) cut by 8 seconds.
1.50.18 Shot with doctors while Newton watches The Third Man shortened at beginning by about 30 seconds. Two shots showing shot into buttocks cut during “I came alone” section.
1.51.57 Mary Lou wandering into Newton’s lair cut down by a handful of small cuts adding up to about 36 seconds.
1.54.19 After Newton bangs on double doors, shot pulling back as Mary Lou watches and Newton moans shortened by 10 seconds.
(Cinema V version cuts in a home-planet alien flashback/forward bit at this cut (1.43.42 in their edit) from 2.06.33 (13 min later in the original) as segue into the table tennis sequence.)
1.54.29 The sex/gun sequence cut. (6 minutes.)
2.07.07 Blowing up of the WE launch pads cut (about 30 seconds).
2.07.57 Newton’s drunken isolation, construction outside window shortened at beginning about 48 seconds
2.11.06 Newton walks out through lobby cut by about 4.5 seconds. Subsequent shot of Newton walking down street free, shortened by about 7 seconds at end.
(2.11.11 “Magical” harp glissando flourish added in Cinema V version as he walks down street.)
2.11.24 Mary Lou and Brice together in liquor store (Brice dressed as Santa) sequence cut (about 1min 20 seconds).
2.12.50 Subsequent scene of Mary Lou and Brice at home together shortened at beginning by about 14 seconds (“Do you want a drink?”). One shot of Brice throwing off his Santa hat also cut. (Total 17 seconds shorter.)
2.14.07 Brice’s record store entrance cut by 15 seconds at beginning (we don’t see cameo of Bowie “Young Americans” record).
2.14.35 Slight cut of girl taking record to play for Brice to create jump-cut. (7 seconds.)
17.39 Shot of Icarus painting in Masterpieces in Paint and Poetry book cut. Inserted here is close-up of picture and pan to Auden poem (with added female voice reading poem) from 21.57, about 4 minutes later.
21.29 After Farnsworth tells Newton on the phone “There’s virtually no bottom” the scene in which Brice opens the book (and we see the cover) before looking at the Auden poem is cut (28 seconds). Auden poem shot moved to earlier as noted.
29.01 Scene in which Mary Lou takes care of Newton on bed: shot of her in bathroom getting towels is shortened from 6 seconds to about 1; an additional new shot of Newton on the bed has been added (about 4 seconds), which dissolves into a longer shot of Mary Lou (longer by about 3 seconds) straightening up than in the original.
(This is the only additional footage added to the Cinema V cut, about 4 seconds of Bowie on the bed and 3 seconds of Mary Lou before straightening up. Because they’re used for the purposes of a dissolve they barely add 1 second of new actual running time.)
29.07 The original intercuts a sequence with Brice having sex with two different co-eds (“You’re not at all like my father”) with additional shots of Mary Lou administering to Newton which has been cut (1min 37 seconds). Three intercut shots of May Lou dabbing Newton’s nose cut. At end of co-ed sequence original Newton jerking awake over a buzzing sound is cut.
33.03 Newton lays head on bed and looks at Mary Lou less than a second longer: her question “What do you do?” line before “For a living, I mean” is cut making the second line a bit confusing.
36.40 Newton talking to Farnsworth on phone. His line “My life is not secret, Mr. Farnsworth but it is private” now plays over the next shot of Farnsworth so he doesn’t seem to pause so long before hanging up. This also removes the end of the shot of Newton with the added business of him putting on his glasses after squinting towards the o.s. window (7 seconds cut).
37.33 Scene of Brice leaving his school with papers blowing cut short by about 48 seconds. Lines cut include “My mind had developed a libido of its own,” mentions of a salary 3x bigger and of his dabbling in “heat photography” which sets up his secret photo of Newton later.
38.26 Shot of Brice walking out of the airport and subsequent back of car with Albuquerque plates before it pulls away from the curb shorter (about 20 seconds)
43.20 Mary Lou in tub, a couple shots, the “Are you hiding out?” exchange cut. After “I’ll guess I’ll do for now, won’t I?” 4-second shot of her dunking back in the water cut (total 29 seconds gone).
46.45 Mary Lou reminiscing about trains is shorter by a couple shots (and audio has been partially kept and plays over the face of Newton o.s.). (26 seconds shorter).
58.23 Hanging shiny banner in middle of sex/telescope montage bit cut (about 5 seconds).
1.01.18 TV montage shortened by a few shots (21 seconds).
1.03.16 After TV montage, fade-to-black at end cut. Now hard cut to pan towards Brice’s trailer without static hold at beginning of pan movement (3 seconds).
1.03.45 Brice’s phone call: a short exchange with Farnsworth about liquid gas, after complaining about not knowing what he’s to do, cut (12 seconds).
1.04.30 Last close up of cricket trimmed by 2 frames (?). Possibly just a reel-change trim or for audio sync purposes.
1.07.16 When Brice enters the limo to meet Newton for the “first” time, scene is shortened: Brice’s line about having a “common interest” and Newton’s lines about “transference of energy” and “I thought about you once or twice” (perhaps referring to the intercut co-ed scene earlier which suggested some psychic connection) are cut. Subsequent shot of limo driving through gates shortened a bit at beginning. (About 30 seconds in total.)
1.22.47 Shot of Newton stewing right before he hits the cookie tray shortened (4 seconds).
1.25.26 End of shot of Mary Lou urinating in fear cut (4 seconds).
1.38.27 Space launch montage sequence shortened by about 1 minute with minor cuts (duplicates of shots are in original). Newton’s instruction 1.39.28 to Arthur in the car to go to the house cut.
1.39.43 Scenes driving to the gas station where Newton’s abducted eliminated, while his “Where are you taking me?” and “Arthur!” shots used in different spots during subsequent Farnsworth attack. (About 45 seconds lost.)
1.44.02 Short domestic scene as Peters and his wife puts their kids to bed cut (20 seconds).
1.48.01 Newton’s nipples cut off (start of shot) cut by 8 seconds.
1.50.18 Shot with doctors while Newton watches The Third Man shortened at beginning by about 30 seconds. Two shots showing shot into buttocks cut during “I came alone” section.
1.51.57 Mary Lou wandering into Newton’s lair cut down by a handful of small cuts adding up to about 36 seconds.
1.54.19 After Newton bangs on double doors, shot pulling back as Mary Lou watches and Newton moans shortened by 10 seconds.
(Cinema V version cuts in a home-planet alien flashback/forward bit at this cut (1.43.42 in their edit) from 2.06.33 (13 min later in the original) as segue into the table tennis sequence.)
1.54.29 The sex/gun sequence cut. (6 minutes.)
2.07.07 Blowing up of the WE launch pads cut (about 30 seconds).
2.07.57 Newton’s drunken isolation, construction outside window shortened at beginning about 48 seconds
2.11.06 Newton walks out through lobby cut by about 4.5 seconds. Subsequent shot of Newton walking down street free, shortened by about 7 seconds at end.
(2.11.11 “Magical” harp glissando flourish added in Cinema V version as he walks down street.)
2.11.24 Mary Lou and Brice together in liquor store (Brice dressed as Santa) sequence cut (about 1min 20 seconds).
2.12.50 Subsequent scene of Mary Lou and Brice at home together shortened at beginning by about 14 seconds (“Do you want a drink?”). One shot of Brice throwing off his Santa hat also cut. (Total 17 seconds shorter.)
2.14.07 Brice’s record store entrance cut by 15 seconds at beginning (we don’t see cameo of Bowie “Young Americans” record).
2.14.35 Slight cut of girl taking record to play for Brice to create jump-cut. (7 seconds.)
Trailer
Faneditor Name:
Original Movie/Show Title:
Genre:
Fanedit Type:
Original Release Date:
1976
Original Running Time:
139 minutes
Fanedit Release Date:
Fanedit Running Time:
119 minutes
Time Cut:
20 minutes
Time Added:
0 minutes
Subtitles Available:
Available In:
HD
Additional Links:
Contact:
Synopsis:
This fanfix/ preservation will restores the original 1976 Cinema V US edit that was cut by 20 minutes for its initial release, and which was never seen again after the director’s cut became available in 1993.
When Nicolas Roeg delivered his original cut of The Man Who Fell to Earth to Paramount, who had bought the US rights for $1.5 million, they refused to go ahead, saying it wasn’t what they paid for, Barry Diller accusing it of not being “linear.” The small distribution company Cinema V stepped in and acquired the film for $850,000, but after a so-so test screening at Dartmouth College, they cut 20 minutes before releasing it in US theatres. They eventually managed to recoup their smaller investment.
That version was released on VHS in 1980, 1985 and again in 1988 by Colombia. In 1993 Criterion restored the director’s cut and that version has since been the one used for all theatrical and home video releases. I actually saw the original version 4 times in a San Diego multi-plex that summer (Pacific 3 in Mission Valley) - it captivated me the way few films had up to that point. I wanted to see how it held up with the missing footage and if it still had the power it had back in 1976 without the restored footage.
I'm using as my main source the original 1980 VHS issue on RCA/ Columbia before the restored version superseded it in 1993.
When Nicolas Roeg delivered his original cut of The Man Who Fell to Earth to Paramount, who had bought the US rights for $1.5 million, they refused to go ahead, saying it wasn’t what they paid for, Barry Diller accusing it of not being “linear.” The small distribution company Cinema V stepped in and acquired the film for $850,000, but after a so-so test screening at Dartmouth College, they cut 20 minutes before releasing it in US theatres. They eventually managed to recoup their smaller investment.
That version was released on VHS in 1980, 1985 and again in 1988 by Colombia. In 1993 Criterion restored the director’s cut and that version has since been the one used for all theatrical and home video releases. I actually saw the original version 4 times in a San Diego multi-plex that summer (Pacific 3 in Mission Valley) - it captivated me the way few films had up to that point. I wanted to see how it held up with the missing footage and if it still had the power it had back in 1976 without the restored footage.
I'm using as my main source the original 1980 VHS issue on RCA/ Columbia before the restored version superseded it in 1993.
Intention:
INTENTION:
When Nicolas Roeg delivered his original cut of The Man Who Fell to Earth to Paramount, who had bought the US rights for $1.5 million, they refused to go ahead, saying it wasn’t what they paid for, Barry Diller accusing it of not being “linear.” The small distribution company Cinema V stepped in and acquired the film for $850,000, but after a so-so test screening at Dartmouth College, they cut 20 minutes before releasing it in US theatres. They eventually managed to recoup their smaller investment.
That version was released on VHS in 1985 and again in 1988 by Colombia. In 1993 Criterion restored the director’s cut and that version has since been the one used for all theatrical and home video releases.
But there was a sizeable generation who came to know and love this film in that original bastardized version, including the current writer who saw it in a San Diego tri-plex 4 times that summer. When I finally caught up with it again years later the extra footage, including the rather startling pistol-and-penis scenes between Bowie and Clark, seemed out of place and in a way reduced the evocative mysteries of the film, giving image to some of the elliptical storytelling beats we’d filled out in our heads, especially during the last 30 minutes. In a way akin to the extra footage of Kurtz at the end of Apocalypse Now making him less enigma and more a simple madman.
I still love the film, but like Apocalypse Now, is more necessarily better? Major edits were made primarily to a handful of scenes by screenwriter Robert Young and editor Ed Beyer at the direction of Cinema V owner Donald Rugoff, as well as dozens of smaller snips throughout. Rugoff had showed both versions to Dr. Richard C. Simons, a member of the Department of Psychiatry at the University of Colorado Medical Center who was also a friend for input as to if he’d possibly hurt the film.
He reportedly liked the original until the end. “I felt the whole thing began to deteriorate. I couldn't grasp where it was going. I told Rugoff I thought it was a disaster,” Simons said. When Rugoff showed him the cut version: “It was amazing. I had a completely different reaction. All the scenes I had trouble with had been eliminated.” Roeg’s fondness for excessive details and emotional nuance had been replaced by a faster headlong rush to the ending– the man had fallen to Earth and he wasn’t going to get back up.
When Nicolas Roeg delivered his original cut of The Man Who Fell to Earth to Paramount, who had bought the US rights for $1.5 million, they refused to go ahead, saying it wasn’t what they paid for, Barry Diller accusing it of not being “linear.” The small distribution company Cinema V stepped in and acquired the film for $850,000, but after a so-so test screening at Dartmouth College, they cut 20 minutes before releasing it in US theatres. They eventually managed to recoup their smaller investment.
That version was released on VHS in 1985 and again in 1988 by Colombia. In 1993 Criterion restored the director’s cut and that version has since been the one used for all theatrical and home video releases.
But there was a sizeable generation who came to know and love this film in that original bastardized version, including the current writer who saw it in a San Diego tri-plex 4 times that summer. When I finally caught up with it again years later the extra footage, including the rather startling pistol-and-penis scenes between Bowie and Clark, seemed out of place and in a way reduced the evocative mysteries of the film, giving image to some of the elliptical storytelling beats we’d filled out in our heads, especially during the last 30 minutes. In a way akin to the extra footage of Kurtz at the end of Apocalypse Now making him less enigma and more a simple madman.
I still love the film, but like Apocalypse Now, is more necessarily better? Major edits were made primarily to a handful of scenes by screenwriter Robert Young and editor Ed Beyer at the direction of Cinema V owner Donald Rugoff, as well as dozens of smaller snips throughout. Rugoff had showed both versions to Dr. Richard C. Simons, a member of the Department of Psychiatry at the University of Colorado Medical Center who was also a friend for input as to if he’d possibly hurt the film.
He reportedly liked the original until the end. “I felt the whole thing began to deteriorate. I couldn't grasp where it was going. I told Rugoff I thought it was a disaster,” Simons said. When Rugoff showed him the cut version: “It was amazing. I had a completely different reaction. All the scenes I had trouble with had been eliminated.” Roeg’s fondness for excessive details and emotional nuance had been replaced by a faster headlong rush to the ending– the man had fallen to Earth and he wasn’t going to get back up.
Other Sources:
-Restored Cinema V logo from HBO Video’s Pumping Iron DVD (this logo only appeared on a couple home video releases as far as I could find).
-Criterion’s laserdisc of TMWFTE’s inner sleeve as initial guide and inspiration to which scenes were excised or shortened. (I believe this was the only time details of the changes were explicated since the release for the benefit of that edition.)
-My primary source – an original 1980 Columbia Pictures Home Entertainment VHS issue as reference copy, and for audio source for Auden voiceover and harp glissando when Newton escapes (added).
-Criterion’s laserdisc of TMWFTE’s inner sleeve as initial guide and inspiration to which scenes were excised or shortened. (I believe this was the only time details of the changes were explicated since the release for the benefit of that edition.)
-My primary source – an original 1980 Columbia Pictures Home Entertainment VHS issue as reference copy, and for audio source for Auden voiceover and harp glissando when Newton escapes (added).
Special Thanks:
Special thanks again to WXM for technical input, image-fixing (including the elusive Cinema V logo card) and second-eyes on frame-counting. An okay-okay! to Bruce Virus 23 who insisted I do this so he could see this version again too.
Release Information:
Digital
Special Features:
Short demo at end (2 minutes 14 seconds) showing the only added footage to the "shorter" cut, two shots in the scene in which Mary Lou takes care of Newton on the bed have been extended for the purposes of a dissolve that hides some excised footage. This is the only "new" footage added to the shorter cut and effectively adds 1 second to the run time.
Cuts and Additions:
LIST OF CUTS IN CINEMA V EDIT: (all times refer to full original runtime)
17.39 Shot of Icarus painting in Masterpieces in Paint and Poetry book cut. Inserted here is close-up of picture and pan to Auden poem (with added female voice reading poem) from 21.57, about 4 minutes later.
21.29 After Farnsworth tells Newton on the phone “There’s virtually no bottom” the scene in which Brice opens the book (and we see the cover) before looking at the Auden poem is cut (28 seconds). Auden poem shot moved to earlier as noted.
29.01 Scene in which Mary Lou takes care of Newton on bed: shot of her in bathroom getting towels is shortened from 6 seconds to about 1; an additional new shot of Newton on the bed has been added (about 4 seconds), which dissolves into a longer shot of Mary Lou (longer by about 3 seconds) straightening up than in the original.
(This is the only additional footage added to the Cinema V cut, about 4 seconds of Bowie on the bed and 3 seconds of Mary Lou before straightening up. Because they’re used for the purposes of a dissolve they barely add 1 second of new actual running time.)
29.07 The original intercuts a sequence with Brice having sex with two different co-eds (“You’re not at all like my father”) with additional shots of Mary Lou administering to Newton which has been cut (1min 37 seconds). Three intercut shots of May Lou dabbing Newton’s nose cut. At end of co-ed sequence original Newton jerking awake over a buzzing sound is cut.
33.03 Newton lays head on bed and looks at Mary Lou less than a second longer: her question “What do you do?” line before “For a living, I mean” is cut making the second line a bit confusing.
36.40 Newton talking to Farnsworth on phone. His line “My life is not secret, Mr. Farnsworth but it is private” now plays over the next shot of Farnsworth so he doesn’t seem to pause so long before hanging up. This also removes the end of the shot of Newton with the added business of him putting on his glasses after squinting towards the o.s. window (7 seconds cut).
37.33 Scene of Brice leaving his school with papers blowing cut short by about 48 seconds. Lines cut include “My mind had developed a libido of its own,” mentions of a salary 3x bigger and of his dabbling in “heat photography” which sets up his secret photo of Newton later.
38.26 Shot of Brice walking out of the airport and subsequent back of car with Albuquerque plates before it pulls away from the curb shorter (about 20 seconds)
43.20 Mary Lou in tub, a couple shots, the “Are you hiding out?” exchange cut. After “I’ll guess I’ll do for now, won’t I?” 4-second shot of her dunking back in the water cut (total 29 seconds gone).
46.45 Mary Lou reminiscing about trains is shorter by a couple shots (and audio has been partially kept and plays over the face of Newton o.s.). (26 seconds shorter).
58.23 Hanging shiny banner in middle of sex/telescope montage bit cut (about 5 seconds).
1.01.18 TV montage shortened by a few shots (21 seconds).
1.03.16 After TV montage, fade-to-black at end cut. Now hard cut to pan towards Brice’s trailer without static hold at beginning of pan movement (3 seconds).
1.03.45 Brice’s phone call: a short exchange with Farnsworth about liquid gas, after complaining about not knowing what he’s to do, cut (12 seconds).
1.04.30 Last close up of cricket trimmed by 2 frames (?). Possibly just a reel-change trim or for audio sync purposes.
1.07.16 When Brice enters the limo to meet Newton for the “first” time, scene is shortened: Brice’s line about having a “common interest” and Newton’s lines about “transference of energy” and “I thought about you once or twice” (perhaps referring to the intercut co-ed scene earlier which suggested some psychic connection) are cut. Subsequent shot of limo driving through gates shortened a bit at beginning. (About 30 seconds in total.)
1.22.47 Shot of Newton stewing right before he hits the cookie tray shortened (4 seconds).
1.25.26 End of shot of Mary Lou urinating in fear cut (4 seconds).
1.38.27 Space launch montage sequence shortened by about 1 minute with minor cuts (duplicates of shots are in original). Newton’s instruction 1.39.28 to Arthur in the car to go to the house cut.
1.39.43 Scenes driving to the gas station where Newton’s abducted eliminated, while his “Where are you taking me?” and “Arthur!” shots used in different spots during subsequent Farnsworth attack. (About 45 seconds lost.)
1.44.02 Short domestic scene as Peters and his wife puts their kids to bed cut (20 seconds).
1.48.01 Newton’s nipples cut off (start of shot) cut by 8 seconds.
1.50.18 Shot with doctors while Newton watches The Third Man shortened at beginning by about 30 seconds. Two shots showing shot into buttocks cut during “I came alone” section.
1.51.57 Mary Lou wandering into Newton’s lair cut down by a handful of small cuts adding up to about 36 seconds.
1.54.19 After Newton bangs on double doors, shot pulling back as Mary Lou watches and Newton moans shortened by 10 seconds.
(Cinema V version cuts in a home-planet alien flashback/forward bit at this cut (1.43.42 in their edit) from 2.06.33 (13 min later in the original) as segue into the table tennis sequence.)
1.54.29 The sex/gun sequence cut. (6 minutes.)
2.07.07 Blowing up of the WE launch pads cut (about 30 seconds).
2.07.57 Newton’s drunken isolation, construction outside window shortened at beginning about 48 seconds
2.11.06 Newton walks out through lobby cut by about 4.5 seconds. Subsequent shot of Newton walking down street free, shortened by about 7 seconds at end.
(2.11.11 “Magical” harp glissando flourish added in Cinema V version as he walks down street.)
2.11.24 Mary Lou and Brice together in liquor store (Brice dressed as Santa) sequence cut (about 1min 20 seconds).
2.12.50 Subsequent scene of Mary Lou and Brice at home together shortened at beginning by about 14 seconds (“Do you want a drink?”). One shot of Brice throwing off his Santa hat also cut. (Total 17 seconds shorter.)
2.14.07 Brice’s record store entrance cut by 15 seconds at beginning (we don’t see cameo of Bowie “Young Americans” record).
2.14.35 Slight cut of girl taking record to play for Brice to create jump-cut. (7 seconds.)
17.39 Shot of Icarus painting in Masterpieces in Paint and Poetry book cut. Inserted here is close-up of picture and pan to Auden poem (with added female voice reading poem) from 21.57, about 4 minutes later.
21.29 After Farnsworth tells Newton on the phone “There’s virtually no bottom” the scene in which Brice opens the book (and we see the cover) before looking at the Auden poem is cut (28 seconds). Auden poem shot moved to earlier as noted.
29.01 Scene in which Mary Lou takes care of Newton on bed: shot of her in bathroom getting towels is shortened from 6 seconds to about 1; an additional new shot of Newton on the bed has been added (about 4 seconds), which dissolves into a longer shot of Mary Lou (longer by about 3 seconds) straightening up than in the original.
(This is the only additional footage added to the Cinema V cut, about 4 seconds of Bowie on the bed and 3 seconds of Mary Lou before straightening up. Because they’re used for the purposes of a dissolve they barely add 1 second of new actual running time.)
29.07 The original intercuts a sequence with Brice having sex with two different co-eds (“You’re not at all like my father”) with additional shots of Mary Lou administering to Newton which has been cut (1min 37 seconds). Three intercut shots of May Lou dabbing Newton’s nose cut. At end of co-ed sequence original Newton jerking awake over a buzzing sound is cut.
33.03 Newton lays head on bed and looks at Mary Lou less than a second longer: her question “What do you do?” line before “For a living, I mean” is cut making the second line a bit confusing.
36.40 Newton talking to Farnsworth on phone. His line “My life is not secret, Mr. Farnsworth but it is private” now plays over the next shot of Farnsworth so he doesn’t seem to pause so long before hanging up. This also removes the end of the shot of Newton with the added business of him putting on his glasses after squinting towards the o.s. window (7 seconds cut).
37.33 Scene of Brice leaving his school with papers blowing cut short by about 48 seconds. Lines cut include “My mind had developed a libido of its own,” mentions of a salary 3x bigger and of his dabbling in “heat photography” which sets up his secret photo of Newton later.
38.26 Shot of Brice walking out of the airport and subsequent back of car with Albuquerque plates before it pulls away from the curb shorter (about 20 seconds)
43.20 Mary Lou in tub, a couple shots, the “Are you hiding out?” exchange cut. After “I’ll guess I’ll do for now, won’t I?” 4-second shot of her dunking back in the water cut (total 29 seconds gone).
46.45 Mary Lou reminiscing about trains is shorter by a couple shots (and audio has been partially kept and plays over the face of Newton o.s.). (26 seconds shorter).
58.23 Hanging shiny banner in middle of sex/telescope montage bit cut (about 5 seconds).
1.01.18 TV montage shortened by a few shots (21 seconds).
1.03.16 After TV montage, fade-to-black at end cut. Now hard cut to pan towards Brice’s trailer without static hold at beginning of pan movement (3 seconds).
1.03.45 Brice’s phone call: a short exchange with Farnsworth about liquid gas, after complaining about not knowing what he’s to do, cut (12 seconds).
1.04.30 Last close up of cricket trimmed by 2 frames (?). Possibly just a reel-change trim or for audio sync purposes.
1.07.16 When Brice enters the limo to meet Newton for the “first” time, scene is shortened: Brice’s line about having a “common interest” and Newton’s lines about “transference of energy” and “I thought about you once or twice” (perhaps referring to the intercut co-ed scene earlier which suggested some psychic connection) are cut. Subsequent shot of limo driving through gates shortened a bit at beginning. (About 30 seconds in total.)
1.22.47 Shot of Newton stewing right before he hits the cookie tray shortened (4 seconds).
1.25.26 End of shot of Mary Lou urinating in fear cut (4 seconds).
1.38.27 Space launch montage sequence shortened by about 1 minute with minor cuts (duplicates of shots are in original). Newton’s instruction 1.39.28 to Arthur in the car to go to the house cut.
1.39.43 Scenes driving to the gas station where Newton’s abducted eliminated, while his “Where are you taking me?” and “Arthur!” shots used in different spots during subsequent Farnsworth attack. (About 45 seconds lost.)
1.44.02 Short domestic scene as Peters and his wife puts their kids to bed cut (20 seconds).
1.48.01 Newton’s nipples cut off (start of shot) cut by 8 seconds.
1.50.18 Shot with doctors while Newton watches The Third Man shortened at beginning by about 30 seconds. Two shots showing shot into buttocks cut during “I came alone” section.
1.51.57 Mary Lou wandering into Newton’s lair cut down by a handful of small cuts adding up to about 36 seconds.
1.54.19 After Newton bangs on double doors, shot pulling back as Mary Lou watches and Newton moans shortened by 10 seconds.
(Cinema V version cuts in a home-planet alien flashback/forward bit at this cut (1.43.42 in their edit) from 2.06.33 (13 min later in the original) as segue into the table tennis sequence.)
1.54.29 The sex/gun sequence cut. (6 minutes.)
2.07.07 Blowing up of the WE launch pads cut (about 30 seconds).
2.07.57 Newton’s drunken isolation, construction outside window shortened at beginning about 48 seconds
2.11.06 Newton walks out through lobby cut by about 4.5 seconds. Subsequent shot of Newton walking down street free, shortened by about 7 seconds at end.
(2.11.11 “Magical” harp glissando flourish added in Cinema V version as he walks down street.)
2.11.24 Mary Lou and Brice together in liquor store (Brice dressed as Santa) sequence cut (about 1min 20 seconds).
2.12.50 Subsequent scene of Mary Lou and Brice at home together shortened at beginning by about 14 seconds (“Do you want a drink?”). One shot of Brice throwing off his Santa hat also cut. (Total 17 seconds shorter.)
2.14.07 Brice’s record store entrance cut by 15 seconds at beginning (we don’t see cameo of Bowie “Young Americans” record).
2.14.35 Slight cut of girl taking record to play for Brice to create jump-cut. (7 seconds.)
Trailer