A long time ago in a strange place called Hollywood, a theatrical cut of a movie was considered to be the director's cut. Now, with the advent of DVDs and the proliferation of special editions, numerous big-budget (and some not-so-big-budget) motion pictures are being given a second life in a format that is often quite different from the original version. For filmmakers who continuously like to tinker, this new philosophy is a godsend. They can release a truncated, studio-friendly version in theaters, then offer their "true vision" to DVD buyers.
This trend towards director's cuts/special editions was not started by George Lucas, but it was popularized by him. The financial windfall reaped when Lucas re-released the original three Star Wars films with new effects and footage awakened Hollywood executives to a previously-untapped resource. To be fair, most special editions exist primarily for creative reasons (although the studios backing them dream of $$$), and often result in a vastly improved product. James Cameron's The Abyss is a completely different movie - confusing and dissatisfying in the shortened theatrical version; sublime and brilliant in the director's cut. The hour added to Wolgang Petersen's Das Boot transforms it into a character-driven white-knuckler. Cameron Crowe's extended Almost Famous gives the story greater span and depth.
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The film's total running length has hardly changed, expanding by four minutes from 2:12 to 2:16. However, alterations to the Director's Edition represent more than just adding a few scenes. Some material was either removed or replaced (all of the deleted scenes and trims are available as part of the DVD's supplementary material). In total, about 10% of the film is different from the theatrical cut, but the changes, while seemingly slight, result in a significantly improved motion picture. Star Trek - The Motion Picture: Director's Edition is no 2001 (its obvious inspiration - a fact that is more evident here than ever before), but it represents thought-provoking, well constructed science fiction.
Re-visiting Star Trek - The Motion Picture via this director's cut is like seeing a familiar story unfold in a new way. Wise's picture was an ambitious effort from the beginning, striving for a greatness that it never attained. In this new version, it still falls short, but not by as much. It has taken more than 20 years for Robert Wise to return to his chapter of the Star Trek saga and fulfill his vision. With no hesitation, I can say that it has been worth the wait. Star Trek - The Motion Picture: Director's Edition vaults this movie from a position as one of the weakest entries in the long-running film series to a perch as one of the strongest.
One of the most insightful articles I have read on the motion picture. I hope for the 40th anniversary we
Get to see this on the big screen. The last time I got to see this film in a theater was during its initial run back in 79
There are two ways movie fans look at a director's cut of a movie: those who are feeling charitable see it as a way for the director to wrest control back from a panicky studio. They can also add or remove elements they don't want in the film. Then, there are those who are more critical of the process and see it as nothing more than a naked cash-grab. The movie is the movie, and once it's released, the picture deserves to live (or die) on its merits. Robert Wise may have agreed with that latter perspective, at least until Star Wars showed up to "save" Star Trek once again.
Robert Wise's 1979 film "Star Trek: The Motion Picture" is the perfect adaptation of the 1960s TV series for the big screen. By 1979, "Star Trek" had been off the air for a decade, but had only grown in popularity thanks to eternal syndication. The same decade saw the rise of the "Star Trek" convention as a cultural institution. Series creator Gene Roddenberry began giving lectures, and he and his fans started to form a consensus together as to what "Star Trek" really meant; that is: an optimistic show about peace, philosophy, and diplomacy. After the success of "Star Wars," science fiction proved to be a commercially proven genre, so by 1979, a "Star Trek" motion picture was eminently logical.
Three separate documentaries give very selective and franchise-friendly accounts of parts of the story. Ā Star Trek's awkward journey from tube to screen is covered in Phase II: The Lost Enterprise. There's nice testimony from the original writers and developers.A Bold New Enterprise is a quick chronicle of the actual production of the movie. Diehard fans will think it very superficial, but casual viewers will enjoy it well enough. The ratio of real testimony, to mutual praise, is rather steep. Finally, Redirecting The Future shows how the effects of the movie were redone last year, using digital animation. Savant's already made too much of a spectacle of himself falling all over the issue of why revising the visuals in movies like Star Trek: The Motion Picture is a bad idea. This particular film matters to me because it will encourage others to start retooling older pictures as a marketing gambit. Yes, there were a lot of explosions and composites (and particularly matte paintings) that weren't all that great in the original. But they were original ... and these are not. Twenty years from now the little stone catwalkthat animates so 'digitally' up to the edge of the Enterprise is going to look just as dated as the original's flat matte painting. So will there be a 2021 revision that redoes all the effects over again? Using this logic, why not replace the airplane models in Casablanca or erase the visible wires in War of the Worlds. I don't have an answer for this. I suppose if it would put my kids through college and buy me a new car, I might do the same thing. The new young effects talent that revised the show are very eager to show how they worked from original storyboards and made their work match the photochemically-limited effects of 1979. All in all, their work can't be faulted much. be457b7860
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