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Friday 10 May 2013, 16:06

Mark Kermode Mark Kermode

I've posted recently asking which films you would choose to re-edit and who would you cast in which role.

Here I pick out some of your best responses.

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  • rate this
    +1

    Comment number 1.

    When I heard about Sam Raimi's OZ: THE GREAT AND POWERFUL, I thought a Raimi Disney film should be called BEDKNOBS AND BOOMSTICKS.

  • rate this
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    Comment number 2.

    Tilda Swinton playing David Bowie reminds of the story the Charlotte Gainsbourg was considered to play her father in the fairly recent Serge Gainsbourg biopic.

    On a similar note, Geraldine Chaplin did play her own grandmother in Chaplin.

  • rate this
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    Comment number 3.

    You mispronounced Bowie... ! Bowie as in "snowy" is how he says it himself.

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    Comment number 4.

    BO-wee - his ground-breaking LP from 76 is called LOW does not rhyme with cow. Nick Lowe had en EP in 77 called Bowi - as a pun on his name! Please pass this info on to David Hepworth and any other suburban Londoners with weird, semi-cockney annunciation problems.

    Think like that bloke Mr Smoketoomuch who couldn't pronounce the letter C in that Python sketch - replace all your 'ow's (cry of pain) with 'oh's (cry of delight), simple, non?

    How (rhymes with cow) hard can it be?

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    Comment number 5.

    I agree with that Trainspotting comment. Its a great film but i would have liked Kelly Macdonald to be in it more as theres not much in the way of female characters in it. It doesnt ruin it but does seem a little one sided.
    In fact once, after reading a critical evaluation of the novels of Philip Roth and how some feel he doesnt really incorporate or represent women into his stories, i was looking through my dvd collection pondering how many of these films can really boast a significant female role and not just a character to expose the male lead's dilemna. I have to be honest, i couldnt come up with many where the male and female characters shared equal screen time and an equal ammount of character exposition to drive the narrative. But now you come to mention it, perhaps thats the appeal of Titanic.

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    Comment number 6.

    I thought there were a number of edits of Caligula available already and not just because of censorship issues. I'm sure Arrow or some such put out a dvd with multiple versions a few years back.
    Its got quite a cast of luvvies and for that alone it certainly has a curiosity value if you can stomach its excesses !

  • rate this
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    Comment number 7.

    Is there a good movie somewhere in Caligula?

    Power, ambition, murder, sex, madness, war and intrigue; it does make a good story; a pity Shakespeare never tackled it. I imagine that Vidal also wanted to compare Rome’s decadence with (his) modern day Washington.

    A remake of ‘I Claudius’ - as Robert Graves wrote it - could make a very good film.

    The TV series was a good adaptation (and John Hurt was much better than McDowell in conveying Caligula’s madness) and better than the Brass movie (and also had to hint at the incest, murder and bloodletting of Graves book); a serious attempt to film ‘I Claudius’ could do the story justice.

    The only two directors that come to mind that could have made a decent job of this, and captured the decadence, double standards and violence of the period are – each in their own way - Ken Russell and Andrzej Wajda (both too old now).

    Neither director shied away from being explicit, but always to make a point. Think of Russell’s The Devils or Wajda’s The Promised Land.

    Nowadays; US & European cinema plays too safe; possibly a director from Korea or Japan could do it. But then they have their own countries stories to tell.

    And, as no one else mentions it… Helen ‘kit off; Mirren. Now one of our national treasures.

    Will any director be as brave as Russell was in 'Women in Love', to do a good, very serious movie complete with full frontal nudity (Bates, Reed, Jackskon etc).

    And no Lars Von Wotsit, you’re not in their league.

  • rate this
    0

    Comment number 8.

    In terms of Editing: A lot of films could do with editing out the "dramatic + crescendo + classical + heart-strings/triumph + ending-on-a-high" MUSIC to hammer home to the audience how to emotionally respond.

    God almighty it ruins so many films and is so clumsy (confidence in the film's story/drama is evidently very low for someone making the bluedy film!).

    Eg LOTRs interminable soundtrack. Or the othernight a solid film Source Code's "5 minutes" of piano music at the end... such a let down.

    AUDIENCE = "CLAP!"

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    Comment number 9.

    Great topic - regret missing this one the first time you posted it. As I heard the question about re-editing and re-casting I immediately thought of Francis Ford Coppola's Dracula - I can remember even thinking as a 12 year old, Keanu Reeves? What is that accent? Why is Ted Logan in a scarey gothic film? And why have they ended the film with a rediculous Carry-On in Transylvania chase ending, after such a brilliant build up? It was not Bram Stoker's story either, although most Dracula's are not. When you think about how brilliantly Coppola developed the look of the film and the good cast selections - particularly Gary Oldman, Wynoda Rider, Monica Bellucci, Tom Waits, Sadie Frost, Richard E. Grant - the actors that make it too hammy and break with the gothic mood of the film are clearly Keanu Reeves and Anthony Hopkins - one too dull & monotone and the other too lively and caricatured. It needed to develop that strange hallucinatory quality that it had more: As Jonathan Harker (bearing in mind they wanted a 'star' actor that would get it into cinemas everywhere) I would have gone with either River Phoenix, Johnny Depp or Ralph Fiennes, and as Van Helsing either Udo Kier or Klaus Kinski (I think he was still alive when Dracula was filmed). Cut out some of the superfluous who-done-it type dialogue in the manor house, then change the chase sequence near the end to emphasise how long it would take them to travel all that way and changes in scenery, from civilization to 'the wild' - one of the main themes in the book: time lapse footage and montages etc. then build the tension slowly towards a final confrontation in the chapel - throw in some local farmers and village people (as in Werner Herzog's version to create a sense of foreboding/warning). The colours and imagery in this film were just about the best I've seen in a horror film, but it was almost ruined by a slap-dash script/ending and casting in those two roles.

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    Comment number 10.

    I wonder if "Run for your wife" could have been better with the right editor?

  • rate this
    +1

    Comment number 11.

    That comment about Chitty Chitty Bang Bang is absolutely spot-on. My two-year-old son always yells 'Skip it!' when that scene comes on. It has no place in a children's film.

  • rate this
    0

    Comment number 12.

    Just as an addition to the re-editing films, I would re-edit the ending of Superman the Movie and the beginning of Superman 2. When Superman's too late to save Lois he reverses time to the sound of his father saying it is forbidden. After saving Lois in this new time frame his reckless actions of throwing that last missile into space would unleash Zod and therefore make his actions have consequences. And this would spill over into Superman 2.

 

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Outspoken, opinionated and never lost for words, Mark is the UK's leading film critic.

This twice-weekly video blog is the place where he airs his personal views on the things that most fire him up about cinema - and invites you to give your own opinions.

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