I agree with the OP, what a brilliant transfer. Goes a long way to restoring Scott's vision for the film since the visuals are such a key component to the picture's allure. I realize the DC comes from an answer print but he needn't have been so critical of it -- it looks spectacular and superior to the American version too.
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Is the director's cut a very recent thing, or was it released shortly after the original film? I'm trying to get a sense of if it's more of a Blade Runner-this-is-what-I-was-trying-to-make-and-they-got-in-my-way director's cut, or more of a George Lucas-look-what-I-can-do-now! director's cut. Either way, I'm probably long overdue for checking this out in some form or another.
The DC is the movie Scott originally made and preferred out of all the versions. It was found after an extensive search and was taken from an answer print, which was literally the only version they could find. It was not an "afterthought" or one of these Director's Cuts you talk about where directors tinker after the fact.
Though the US theatrical release version has its fans, its sole reason for existence was borne out of commercial motivations, not artistic ones. It was cut down and re-scored purely out of commercial considerations at the behest of Universal studio brass -- most notably Sid Sheinberg, the same guy who wanted to trash Terry Gilliam's BRAZIL several months prior. Unfortunately Scott didn't fight for his original version and probably was talked into it, which is a shame because in every way the short US release version is a travesty: the plot makes less sense, the cuts are jarring, and Tangerine Dream's electronic scoring (which I realize appeals to people who like their music) not only feels anachronistic but was a pure cash-grab to try and push sales of the soundtrack album, and appeal to the teenage market. (There's a hilariously awful Bryan Ferry song that plays over the end credits too). It truly was the only reason for that bastardized edit.
The Director's Cut is Scott's original, preferred version of the film. Goldsmith's music was not only conceived for the movie, his songs (with lyrics by John Bettis) were a PART OF THE SCRIPT. Goldsmith's music was his favorite out of every score he composed, and with good reason: it's classical but lyrical, haunting and perfect. It totally changes the tone of the film.
Beyond that, the 113 min. version flows better in every regard. Restored dialogue helps to totally smooth over pacing, and clarify the story. It's fascinating to watch it, then go back in and see how much the whole intention and execution of the film are utterly ruined by what Universal wanted for the American release cut. Scott's DC has a timeless fantasy feel; the US version is like an 89 minute MTV music video from the mid '80s.
That said, if you do like the US version, you can still see it on the disc...it's a great release that will satisfy everyone :)
Edited by Mike_Richardson - 6/6/11 at 8:07am