By Matt Singer | Press Play February 8, 2012 at 5:16AM
[EDITOR'S NOTE: Matt Singer over at the Independent Film Channel has written a fascinating piece discussing the rise of film critic filmmakers, tracing its storied history with filmmaker/critics such as Francois Truffaut through Peter Bogdanavich, who has a terrific blog right here at Indiewire. We have reprinted excerpts of this piece because it mentions Peet Gelderblom's Raising Cain Recut, which debuted right here are Press Play. Don't miss Matt Singer's excellent full article here. Here is the Recut (posted above), Singer's excerpt below, and the video essay which explains the project.
Matt Singer at IFC:
"A similarly audacious project was launched last week on the Indiewire blog Press Play by film critic filmmaker Peet Gelderblom. His “Raising Cain Re-cut” is a “Phantom Edit”-style revision of Brian De Palma’s 1992 film “Raising Cain.” As Gelderblom explains in an essay that accompanies his “Re-cut,” De Palma was never fully satisfied with the structure of his film and, exasperated in the editing room, he radically revised his initial conception of the picture during post-production. Gelderblom decided to take the theatrical version of “Raising Cain” and restore it to something closer to the director’s original vision. At least for now, you can watch the entire “Raising Cain Re-cut” in this embedded video.
To get the full effect of Gelderblom’s work, I rewatched De Palma’s “Raising Cain” over the weekend and then dove immediately into the “Re-Cut” version. In my (non-filmmaker) film critic opinion, he’s done as good a job as seems possible with the material he had to work with. In interviews, De Palma stressed that his reason for making “Cain” was not (SPOILER ALERT) to tell the story of a crazy dude with multiple personalities, but really to delve into a romantic melodrama involving the crazy dude’s wife, who cheats on her husband in a surreal swirl of dreams and nightmares. In the theatrical version, John Lithgow’s Carter is established first — and established as a nutjob — before we ever meet his wife Jenny (Lolita Davidovich). Gelderblom’s biggest adjustment is to start with Jenny, and to keep Carter as a background character through the first twenty minutes of the film. Right after Jenny has succumbed to a series of fantasies (or perhaps true adulterous encounters) Carter surprises her by strangling her, seemingly to death.
There’s one major downside to Gelderblom’s version, namely that this protagonist fake-out makes “Raising Cain” look even more like a “Psycho” knock-off than it already did. But otherwise, his conceit works, and makes a certain amount of sense, too. Davidovich’s character is having a hard time telling the difference between dream and reality and all of a sudden her husband tries to kill her; which, at first, seems like another possible layer of dream. The “Re-cut”‘s biggest problem is that Gelderblom only has the original theatrical cut to play with — and his version could use at least a few more scenes of seeming domestic bliss between Jenny and Carter to really sell the big reveal, as well a a clearer transition between Carter’s attempted murder of Jenny and the flashback to the beginning of his wicked deeds.
All in all, though, it’s a very interesting effort. And while he hasn’t spoken publicly about it, I imagine De Palma would approve, if not with the execution then at least with the conception."
To read the entire article, click here.