Looking for the Directors Cut of "The Shining"

[mk.ten]

I see that The Shining is on BD and HD DVD, but does anyone know if it's the extended directors cut? Or does anyone know if that version is even available?

[anephric]

Both the shorter Euro and original American versions are directors cuts, in that Kubrick approved them both, but they're appropriate to the area - the Euro Region B bluray is the shorter version, the US Region A bluray is the longer original version.

[bigrob]

just upgraded my UK HD-DVD to the longer US BD today actually

what a co-inky-dink!

[Todd Tomorrow]

I'm not a big fan of the longer version. There is nothing essential there and the extra scenes really slow the film down.

[mk.ten]

Originally Posted by bigrob

just upgraded my UK HD-DVD to the longer US BD today actually

what a co-inky-dink!

If I was going to get this it would be on HD-DVD, so the American version is longer, but does it have the extras featured on the recent BD and DVD release?

[Dame Hedwig]

Originally Posted by Todd Tomorrow

I'm not a big fan of the longer version. There is nothing essential there and it the extra scenes really slow the film down.

Couldn't agree more. The Euro-version is far superior, and is supposed to be Kubrick's preferred version.

[horseflesh]

Originally Posted by Todd Tomorrow

I'm not a big fan of the longer version. There is nothing essential there and it the extra scenes really slow the film down.

Originally Posted by Dame Hedwig

Couldn't agree more. The Euro-version is far superior, and is supposed to be Kubrick's preferred version.

Thirded.
Bigger isn't always better.

[Ste7en]

True. But I say get both versions

There are bits in the US cut that I do quite like though.

Sometimes you're in the mood to eat a whole box of Thorntons Continental, even the horrible ones

[Wendell Armbruster]

I have both versions and generally prefer the shorter UK one. I'm always amused/amazed how Mr K would spend years and years on a project, do take after take after take on the set, drive everyone bonkers, take another year on the editing, then release the picture to the expectant world. Then after a week or two, start unravelling the whole thing. Mr Ditherer.

[Ste7en]

Mr Lucas more like

[Todd Tomorrow]

Originally Posted by Wendell Armbruster

I have both versions and generally prefer the shorter UK one. I'm always amused/amazed how Mr K would spend years and years on a project, do take after take after take on the set, drive everyone bonkers, take another year on the editing, then release the picture to the expectant world. Then after a week or two, start unravelling the whole thing. Mr Ditherer.

But that all makes sense. He always looked to achieve a type of perfection that is impossible. He took it to an OCD like degree, where he just couldn't let go of his films. By shooting gazillions of takes he was left with so many options that it made editing close to impossible. It's a common thing with artists, but Kubrick was an extreme case.

One reason I liked Synecdoche New York so much was because it was a satire on that type of artist (a theatre director here) who can never let go of his creation.

[Raigmore]

Originally Posted by Todd Tomorrow

I'm not a big fan of the longer version. There is nothing essential there and the extra scenes really slow the film down.

I have to reluctantly agree. I do like to watch the additional scenes in the US version but the shorter Euro version is crisper.

[anephric]

Kubrick was quite susceptible to criticism, so when there was negative critical reaction at the press/preview screenings of 2001, he trimmed it, so we lost scenes unrestored to this day. Same thing with The Shining, though at least the US version remains intact. Mainly.

[LouBarlow]

I've never seen the shorter cut. First time I saw it was on TV and ITV showed the longer version and then owned the US DVD and HD-DVD respectively. Might have to pick it up now.

[Niceguygeoff]

The shorter cut works better for me. The langourous pace is the USP of the movie, but the long version drags it out a bit too much. And the 'party ghost' bits don't add anything to the ending either.

I've got both cuts anyway, because it's a miracle that Kubrick left the US cut alone after he'd fiddled with the UK version.

What always jazzes me about Kubrick is that he was so dismissive of the materials relating to his past films (i.e. burning trims and outtakes, destroying the models - and even the plans for the models - built for 2001 etc), but he kept an extensive archive of every ******* fan latter that was sent to him.

[anephric]

I don't think he was necessarily dismissive - I think he was being protective of people fiddling with his films when he wasn't around any more, like editing the deleted scenes from A Clockwork Orange back in, or something.

[Wendell Armbruster]

He is said to have either destroyed or bought up every known print of Fear and Desire, except the one kept at Eastman House in America. And he banned his own movie, A Clockwork Orange, which must be a unique action for an artist. As much as I admire Mr K, there was something remarkably North Korean about him.

[Robert S]

I

[DanWilde1966]

Originally Posted by Todd Tomorrow

But that all makes sense. He always looked to achieve a type of perfection that is impossible. He took it to an OCD like degree, where he just couldn't let go of his films. By shooting gazillions of takes he was left with so many options that it made editing close to impossible. It's a common thing with artists, but Kubrick was an extreme case.

One reason I liked Synecdoche New York so much was because it was a satire on that type of artist (a theatre director here) who can never let go of his creation.

Welles took "never letting go" to an ever greater extreme...

[anephric]

Originally Posted by Wendell Armbruster

He is said to have either destroyed or bought up every known print of Fear and Desire, except the one kept at Eastman House in America. And he banned his own movie, A Clockwork Orange, which must be a unique action for an artist. As much as I admire Mr K, there was something remarkably North Korean about him.

Both acts of a fragile personality - he was embarrassed of Fear and Desire and felt victimised because of A Clockwork Orange. It's not really an arrogant personality being dismissive or totalitarian - they're acts of a very fragile ego. If there's one thing that comes across from reading various accounts of Kubrick, it's that he needed constant reassurance from his retinue. This comes across pretty strongly in Raphael's bitch of a tract and Matthew Modine's Full Metal Jacket diary, to name but two.