One From the Heart: Reprise 4K UHD (1 Viewer)

[JPCinema]

I’ll watch reprise first and then the original.

 

[Bryan Tuck]

A nice surprise in the mail today!

If I may ask, what is the running time of the "1982 cut" on this new release? I've never quite been able to figure out exactly what played in theaters back then. I've read some things that suggest the film was actually fiddled with while it was in theaters, or maybe that the preview/premiere version was different than what was released shortly afterwards. I'm not sure.

At any rate, I do know that the DVD released in 2004 or so was a new-at-the-time 99-minute cut that was carried over to Blu-ray. However, the US VHS/laserdisc edition ran 102 minutes, and there was also a Japanese laserdisc that ran 107 minutes. So I'm still pretty confused.

 

[owen35]

I’ll watch reprise first and then the original.

Would love to know if the "original" is the theatrical release or the Blu-Ray version. You will know the difference when the camera goes through the window and into the travel agency at the beginning. Franny talks to her friend about wanting to go to Bora Bora and buying the tickets for her and Hank. That scene was cut for the blu-ray release.

 

[PMF]

Yup. Just got mine too. I'm going to watch the theatrical version first. I loved it when I saw it at Radio City, thought it was perfection, so I see no reason to "fix" it. THE COTTON CLUB, on the other hand, had all kinds of issues in its theatrical release, and I thought Coppola's "redux" went a long way to making it more understandable, and for me, a better film, in that what was there in potential, kind of lingering between the shots, became more realized in the re-edit. I'm not so sure about ONE FROM THE HEART, though.

Funny thing, but I thought it was perfection, too. Even grabbed the vinyl soundtrack. These are just one of those films where you wonder why it wasn’t bigger. Was it the critics, was it the timing of its release and what else had opened that week, or was it ahead of its time? Too many variables to know. Glad to read of this 4K/UHD release and shall purchase.

 

[JPCinema]

Would love to know if the "original" is the theatrical release or the Blu-Ray version. You will know the difference when the camera goes through the window and into the travel agency at the beginning. Franny talks to her friend about wanting to go to Bora Bora and buying the tickets for her and Hank. That scene was cut for the blu-ray release.

The reprise cuts from Franny adjusting the storefront to walking home and dropping groceries outside and inside the house and then Frederic Forrest walking in
The 103 minute 1982 version cuts from Franny adjusting the storefront a to brief a brief conversation with her friend (no mention of Bora Bora) , then combing her bangs,,then cutting to Hank who is combing his hair.

 

[owen35]

The reprise cuts from Franny adjusting the storefront to walking home and dropping groceries outside and inside the house and then Frederic Forrest walking in
The 103 minute 1982 version cuts from Franny adjusting the storefront a to brief a brief conversation with her friend (no mention of Bora Bora) , then combing her bangs,,then cutting to Hank who is combing his hair.

Hmmm, interesting. I do recall a scene where Franny is driving home and she kisses the tickets to Bora Bora, being very excited about presenting them to Hank. I dunno, it was 40 years ago, my memory is probably playing tricks on me, but it does sound like the '82 version is the original theatrical release, not the BR edit.

Thanks for posting the follow-up.

 

[JPCinema]

It's curious that there is not a US release

 

[lark144]

It's curious that there is not a US release

Studio Canal releases are in Region B, in the UK, France & Germany. They usually license stuff out in Region A a little later. I imagine this will eventually turn up in the US. Like you, I imported this because I wanted to see it right away. Most of Coppola's re-edits have been coming from Lion's Gate in the US, but since this has a Columbia logo on it, it's possible Sony might be involved. I'm not sure about the rights. An old master did come from Lion's Gate in a box set a while back. The difference between this and that is night and day.

 

[Richard Kaufman]

Hit my mailbox today. Spinning the disc tonight. Saw this film on the first day it played Radio City Music Hall. Beautiful to watch.

 

[trajan007]

Studio Canal releases are in Region B, in the UK, France & Germany. They usually license stuff out in Region A a little later. I imagine this will eventually turn up in the US. Like you, I imported this because I wanted to see it right away. Most of Coppola's re-edits have been coming from Lion's Gate in the US, but since this has a Columbia logo on it, it's possible Sony might be involved. I'm not sure about the rights. An old master did come from Lion's Gate in a box set a while back. The difference between this and that is night and day.

Amazon says its region A B C.

 

[lark144]

Amazon says its region A B C.

I believe the UHD is all region. I have the Blu-Ray, which is Region B.

 

[johnmcmasters]

There have been so many versions of this film! Back in the day I loved the cut mentioned previously on a Japanese laserdisc, but I sold that off many moons ago! Does anyone know if that cut has ever been released on Blu-Ray anywhere?

In any event, I am thrilled to have this release and will try to spin it over the weekend. I saw this when it opened, but as I recall I went to the Paramount theater in Columbus Circle in Manhattan on opening weekend, and not the highly publicized sneak previews at Radio City. I do remember Vincent Canby's scathing review which surely didn't help the film in any way:

SCREEN: COPP OLA'S 'ONE FROM THE H EART' OPENS (Published 1982)

www.nytimes.com

 

[owen35]

The reprise cuts from Franny adjusting the storefront to walking home and dropping groceries outside and inside the house and then Frederic Forrest walking in
The 103 minute 1982 version cuts from Franny adjusting the storefront a to brief a brief conversation with her friend (no mention of Bora Bora) , then combing her bangs,,then cutting to Hank who is combing his hair.

Busy week so I haven't had to watch both version all the way through, but I did watch the opening of the Reprise and Original Theatrical Cut. I recall that being the biggest difference between theatrical and blu-ray.

Gotta admit, the opening of the original cut is my preferred edit.
Here's my reasons why:

• Their relationship begins with tension--and love. They are definitely at a cross-roads. So when they have their second fight, you don't know if they are going to make it or if they will go their separate ways. We have a stronger motivation for why they are so quick to break up and explore other options.
• We need that first fight, rather than just cutting to Franny saying "Hank, let's not fight" in the Reprise. There is no context for her saying it (or history of knowing they fight a lot), so it hits with minimal effect. Plus we are only 4 minutes in so it is an emotion that has no meaning to the audience.
• The original edit introduces Moe and Maggie sooner and explains their relationship right-away. The current edit doesn't do that, they sort of appear with no understanding of who they are until later. It's odd.
• The original flows naturally. I was scratching my head at them making love, then cutting to Hank walking the Vegas strip with Moe and meeting the dancer, then back to them eating in the same clothes we saw them in the previous scene. That didn't work for me.

I do hope to dive deeper into both versions of this film. It has always been a special movie to me. In one of my film classes in college I often referenced it in my papers. Just love this movie and overjoyed that I have both versions to appreciate.

(On a big side note, I went to SFSU and was in the very last drama class that August Coppola taught. He was Francis' older brother and was so impressive and flamboyant in person; just a lovely guy. He shared some personal videos of the production of One From The Heart. In one of the videos, Francis had a very young kid (maybe 9 or 10) whose assignment was to offer feedback and ideas during production. He would suggest camera angles and story ideas. I recall Francis saying something akin to "the imagination of the child is so amazing to watch." No idea if any of the ideas were ever truly considered.)

 

[JPCinema]

Busy week so I haven't had to watch both version all the way through, but I did watch the opening of the Reprise and Original Theatrical Cut. I recall that being the biggest difference between theatrical and blu-ray.

Gotta admit, the opening of the original cut is my preferred edit.
Here's my reasons why:

• Their relationship begins with tension--and love. They are definitely at a cross-roads. So when they have their second fight, you don't know if they are going to make it or if they will go their separate ways. We have a stronger motivation for why they are so quick to break up and explore other options.
• We need that first fight, rather than just cutting to Franny saying "Hank, let's not fight" in the Reprise. There is no context for her saying it (or history of knowing they fight a lot), so it hits with minimal effect. Plus we are only 4 minutes in so it is an emotion that has no meaning to the audience.
• The original edit introduces Moe and Maggie sooner and explains their relationship right-away. The current edit doesn't do that, they sort of appear with no understanding of who they are until later. It's odd.
• The original flows naturally. I was scratching my head at them making love, then cutting to Hank walking the Vegas strip with Moe and meeting the dancer, then back to them eating in the same clothes we saw them in the previous scene. That didn't work for me.

I do hope to dive deeper into both versions of this film. It has always been a special movie to me. In one of my film classes in college I often referenced it in my papers. Just love this movie and overjoyed that I have both versions to appreciate.

(On a big side note, I went to SFSU and was in the very last drama class that August Coppola taught. He was Francis' older brother and was so impressive and flamboyant in person; just a lovely guy. He shared some personal videos of the production of One From The Heart. In one of the videos, Francis had a very young kid (maybe 9 or 10) whose assignment was to offer feedback and ideas during production. He would suggest camera angles and story ideas. I recall Francis saying something akin to "the imagination of the child is so amazing to watch." No idea if any of the ideas were ever truly considered.)

I agree 100%. The original cut is much better.

 

[B-ROLL]

I believe the UHD is all region. I have the Blu-Ray, which is Region B.

This is apparently SC's MO - The 4K is "ALL" region and the enclosed blu-ray is Region B locked - usually with identical content (save for the Movie/Film) on both - at least it was for the X Musketeers films ...

 

[lark144]

Busy week so I haven't had to watch both version all the way through, but I did watch the opening of the Reprise and Original Theatrical Cut. I recall that being the biggest difference between theatrical and blu-ray.

Gotta admit, the opening of the original cut is my preferred edit.
Here's my reasons why:

• Their relationship begins with tension--and love. They are definitely at a cross-roads. So when they have their second fight, you don't know if they are going to make it or if they will go their separate ways. We have a stronger motivation for why they are so quick to break up and explore other options.
• We need that first fight, rather than just cutting to Franny saying "Hank, let's not fight" in the Reprise. There is no context for her saying it (or history of knowing they fight a lot), so it hits with minimal effect. Plus we are only 4 minutes in so it is an emotion that has no meaning to the audience.
• The original edit introduces Moe and Maggie sooner and explains their relationship right-away. The current edit doesn't do that, they sort of appear with no understanding of who they are until later. It's odd.
• The original flows naturally. I was scratching my head at them making love, then cutting to Hank walking the Vegas strip with Moe and meeting the dancer, then back to them eating in the same clothes we saw them in the previous scene. That didn't work for me.

I do hope to dive deeper into both versions of this film. It has always been a special movie to me. In one of my film classes in college I often referenced it in my papers. Just love this movie and overjoyed that I have both versions to appreciate.

(On a big side note, I went to SFSU and was in the very last drama class that August Coppola taught. He was Francis' older brother and was so impressive and flamboyant in person; just a lovely guy. He shared some personal videos of the production of One From The Heart. In one of the videos, Francis had a very young kid (maybe 9 or 10) whose assignment was to offer feedback and ideas during production. He would suggest camera angles and story ideas. I recall Francis saying something akin to "the imagination of the child is so amazing to watch." No idea if any of the ideas were ever truly considered.)

As I stated earlier, I prefer both Cotton Club & Apocalypse Now Redux. I think the re-edits are much superior, a better expression of the original footage, in terms of both character motivation and structure. Also, for me, they're more watchable. They pull you right in, and keep you there, in a way the original theatrical versions didn't; at least for this viewer. But when it comes to One From the Heart, I prefer the original theatrical version. With this film, I think Coppola had already achieved perfection, and now he's just tinkering for the sake of tinkering. As one of my projectionists used to say, whenever a relief guy would alter settings that were already spot on, "If it ain't broke, don't fix it."

 

[jayembee]

This is apparently SC's MO - The 4K is "ALL" region and the enclosed blu-ray is Region B locked - usually with identical content (save for the Movie/Film) on both - at least it was for the X Musketeers films ...
View attachment 216187

I was surprised by that. It did seem like other SC releases were that way, but I figured that the Musketeers films would be all region for the BDs as well as the UHDs. And that's because about 12 years ago, they released a double-feature Blu-ray set of the films that was all region (I have a copy).

I wasn't thinking that if they created new Blu-rays based on the 4K master that the BDs wouldn't be the same old discs tossed into the packages.

Slight aside...once I watched the UHDs of the two Musketeers films, I decided to repackage them. I put both UHDs into the Three Musketeers case and both BDs into the Four Musketeers case. That way, when I want to watch them again, I can just grab one case. My wife argued that I should've put the UHDs in the Four Musketeers case, as they were "Four K".

 

[B-ROLL]

I was surprised by that. It did seem like other SC releases were that way, but I figured that the Musketeers films would be all region for the BDs as well as the UHDs. And that's because about 12 years ago, they released a double-feature Blu-ray set of the films that was all region (I have a copy).

View attachment 216189

I wasn't thinking that if they created new Blu-rays based on the 4K master that the BDs wouldn't be the same old discs tossed into the packages.

Slight aside...once I watched the UHDs of the two Musketeers films, I decided to repackage them. I put both UHDs into the Three Musketeers case and both BDs into the Four Musketeers case. That way, when I want to watch them again, I can just grab one case. My wife argued that I should've put the UHDs in the Four Musketeers case, as they were "Four K".

As Raquel Welch is in both - they could also be 4DD ...


Back to One From The Heart on 4K ....

 

[owen35]

As I stated earlier, I prefer both Cotton Club & Apocalypse Now Redux. I think the re-edits are much superior, a better expression of the original footage, in terms of both character motivation and structure. Also, for me, they're more watchable. They pull you right in, and keep you there, in a way the original theatrical versions didn't; at least for this viewer. But when it comes to One From the Heart, I prefer the original theatrical version. With this film, I think Coppola had already achieved perfection, and now he's just tinkering for the sake of tinkering. As one of my projectionists used to say, whenever a relief guy would alter settings that were already spot on, "If it ain't broke, don't fix it."

I think there is something to be said for the "state of mind" the artist is in when he/she finishes the project. I do think there are external issues that cause the final product needing more time than what it was given (GFIII is a good example of a rushed film), but for One From The Heart I don't recall Coppola being under-the-gun to get it out. I didn't think it needed any fixing. Audiences and critics just didn't get it at the time, that's not Coppola's problem to fix.

I will say that it is interesting seeing how in the Reprise he tinkers with time, expanding their relationship in the beginning from being a single night, to (possibly) multiple nights until they break up. But I do prefer the original (same with Apocalypse.)

 

[lark144]

I think there is something to be said for the "state of mind" the artist is in when he/she finishes the project. I do think there are external issues that cause the final product needing more time than what it was given (GFIII is a good example of a rushed film), but for One From The Heart I don't recall Coppola being under-the-gun to get it out. I didn't think it needed any fixing. Audiences and critics just didn't get it at the time, that's not Coppola's problem to fix.

I will say that it is interesting seeing how in the Reprise he tinkers with time, expanding their relationship in the beginning from being a single night, to (possibly) multiple nights until they break up. But I do prefer the original (same with Apocalypse.)

The theatrical cut of Apocalypse Now may not have been rushed, but it was most certainly chaotic and confused. One of the editors came to my class at NYU and stated Coppola had no idea what the film was about or how to end it. Rather than a narrative, he wanted it to be a kind of hallucination, a trip into the dark heart of the soul. Now that's all well and good, and certainly visually stimulating, but what happened in the theatrical cut of Apocalypse Now for this viewer didn't make a lot of sense. These events in the film, at least initially, happened to characters that this viewer identified with and cared about. But as the film went on, those characters seemed to vanish from the film, and what happened evolved into beautiful but cryptic imagery. As a director, Coppola is not good with abstraction. In his strongest films, such as The Conversation or The Godfather, his images support the reactions and emotions of the characters, which is primary for him. He gives you the back story, so you comprehend why these people do what they do. In the theartical cut of Apocalypse Now, that back story, that understanding of who these people are, of watching them act under stress, and thereby revealing who they really are, which for me is the key to Coppola's cinema, is missing. Those images, no matter how extraordinary they are, need context and humanity to become understandable. So for me, that cut was kind of a trip film, visually stunning but disappointing. There was tragedy there, but it only came across in a superficial way, in general terms, not specific, because the motivations of the characters, what this particular struggle meant to them, wasb't articulated fully. I found it especially frustrating because Kurtz, the character played by Brando, had no skin in the game, was a total enigma, only muttering "These are the Hollow Men". Kurtz was supposed to be the key to the film, the mission. Why did he behave the way he did? We never found out. He was not only a "hollow man" but an empty shell. For me, that cut of Apocalypse Now was similar to Gertrude Stein's view of California, "When you finally get there, there's no there there." Yes, it was glorious to look at, but what did it mean? Not in general terms, but specifically, in terms of those characters? That was fixed in Apocalypse Now Redux. It may not be as stunning visually or as hallucinatory, but the characters, especially Kurtz, make sense. Those hallucinatory images now have context, a meaning which is both specific to the characters as well as deeply metaphorical. Apocalypse Now Redux matches the heft and poetic depth of Conrad's "Heart of Darkness" in the way the theatrical cut for me did not. Yes, the theatrical cut of Apocalypse Now was a glorious poem, but it was a poem without a deep human touch, which is essential.