Donnie Darko - The Director's Cut
October 27th 2008 23:51
“Incidents when the fabric of the fourth dimension becomes corrupted are incredibly rare.”
Richard Kelly’s Donnie Darko (2001) is indeed a rare Hollywood beast; a dark psychological sf thriller that appears on the surface to be a high school drama; a cosmic puzzle that gets thematically deeper and more complex the more you try to piece it together. It’s a thoroughly enlightening piece of cinema designed as a mind toy that plays on your primal fears and the wonder of existence.
The original version left me confused, but I enjoyed the ride. I wasn’t the only person who had found the plot mechanics of Donnie Darko a little on the bewildering side. Just what the fuck was going on? Not that I don’t find the concept of Tangent Universes and the fourth dimension essentially fascinating and enthralling. But just as the exceptional Primer (2004) was as mind-boggling as it was brilliant, Donnie Darko threatened to alienate more viewers than ingratiate them to the philosophy of time travel.
And that’s exactly what it did do: Donnie Darko was criticized unfairly for being too much the existential art film, and not mainstream enough in its narrative for the masses, especially since it had several big name actors in it who were doing themselves a disservice, and a several up-and-coming actors who deserved a better platform to launch their careers from. The movie was viewed harshly as an unwieldy contradiction, a farrago of subversive symbolism and doomed to a life on the dusty shelves of some boutique video store.
And therein lies the Rub: Donnie Darko was never going to play the straight and narrow. Donnie Darko was always about the underdog superhero that has to make a sacrifice in order to save the world from crushing mediocrity (... and Jim Cunningham, "the Antichrist"). If the general public didn’t understand immediately, they would sooner or later, even if it meant a few tweaks and re-rubs along the way.
Enter Donnie Darko - The Director’s Cut (2004), the little science fiction epic that could. Three years after the movie stumbled in its quest to reach the acceptance of the masses visionary director Richard Kelly was approached by the movie’s original U.S. distributors who in a moment of savvy opportunist clarity knew the movie needed a little re-modeling in order to extend its unique take and touch a few more hearts and minds.
Kelly re-assembled the film, adding in numerous scenes that had been deleted from the original cut, as well as including pages from The Philosophy of Time Travel book as chapter points. He also re-mixed the sound, adding new symbolic sound effects, enhanced the special visual effects, and shuffled some of the key pieces of music back to what he’d originally intended, but had been unable to do so due to licensing problems.
Although many of the film’s purist fans will argue the Director’s Cut simplifies the movie too much and reduces the interpretive elements, others will champion Kelly’s decision to include imagery he’d wanted to use from the beginning; such as the descriptions and explanations from Roberta Sparrow’s Philosophy of Time Travel. There is also more depth to the characters, especially the Darko family, but also Donnie’s English teacher Ms. Pomeroy (Drew Barrymore, who, rather curiously, was also executive producer) and his psychiatrist Dr. Thurman (Katharine Ross).
Aside from all the psycho-babble - The Living Receiver, The Manipulated Living, Metal Artifact, Ensurance Trap - the main theme of Donnie Darko is that of loneliness: “Every living creature on Earth dies alone.” Emotional fragility and the stark beauty of the words “cellar door”. There is a religious subtext about faith: atheism vs. agnosticism vs. God, and the character of Donnie Darko manipulates time and space like a God, or to be more precise, he becomes a martyr, his actions engineered by advanced beings from the future (a narrative concept that although illustrated in slightly more detail in the Director’s Cut is still left as mysterious as the entire movie).
The events of Donnie Darko take place in the 28 days preceding Halloween, 1988 (in fact the number “8” is used significantly throughout the movie). There are numerous references to the horror sub-culture; Donnie’s mother Rose (Mary McDonnell) is reading Stephen King’s supernatural monster epic It, Donnie and girlfriend Gretchen (Jena Malone) go to the cinema to watch The Evil Dead (in a curious double bill with The Last Temptation of Christ). The movie’s Tangent Universe crux occurs during a Halloween party when Donnie, Gretchen, and two friends abandon the party to go to Grandma Death aka Roberta Sparrow’s (Patience Cleveland) house only to collide with fate’s deadly irony.
Yes, the realm of Donnie Darko is a mad world, but realised with such a vivid imagination and confident understanding of the psychological and emotional nuances and contradictions that exist within us all. The movie's mood and tone reminds me of Don DiLillo's brilliant novel of American suburban family angst, White Noise, which has never been filmed, but should. The performances are all excellent, especially Jake Gyllenhaal, but also Mary McDonnell, Jena Malone, and Katharine Ross. Drew Barrymore is probably the movie’s weakest link. Trainspotters will notice Seth Rogen in his feature debut.
Despite its extraordinary supernature Donnie Darko is not for everyone. It captures a literary atmosphere whilst behaving like pure cinema. It rewards as it confounds, and just as I admire David Lynch’s Lost Highway, I champion Donnie Darko for possessing a texture, mood and movement all of its own.
“Eventually [the Tangent Universe] will collapse upon itself, forming a black hole within the Primary Universe capable of destroying all existence.”
Here's the Director's Cut teaser trailer:
Donnie Darko - The Director's Cut DVD (a 2-disc special edition with a plethora of extras including new audio commentary with director Richard Kelly in conversation with buddy Kevin Smith), courtesy of Madman Entertainment, many thanks!
Richard Kelly’s Donnie Darko (2001) is indeed a rare Hollywood beast; a dark psychological sf thriller that appears on the surface to be a high school drama; a cosmic puzzle that gets thematically deeper and more complex the more you try to piece it together. It’s a thoroughly enlightening piece of cinema designed as a mind toy that plays on your primal fears and the wonder of existence.
The original version left me confused, but I enjoyed the ride. I wasn’t the only person who had found the plot mechanics of Donnie Darko a little on the bewildering side. Just what the fuck was going on? Not that I don’t find the concept of Tangent Universes and the fourth dimension essentially fascinating and enthralling. But just as the exceptional Primer (2004) was as mind-boggling as it was brilliant, Donnie Darko threatened to alienate more viewers than ingratiate them to the philosophy of time travel.
And that’s exactly what it did do: Donnie Darko was criticized unfairly for being too much the existential art film, and not mainstream enough in its narrative for the masses, especially since it had several big name actors in it who were doing themselves a disservice, and a several up-and-coming actors who deserved a better platform to launch their careers from. The movie was viewed harshly as an unwieldy contradiction, a farrago of subversive symbolism and doomed to a life on the dusty shelves of some boutique video store.
And therein lies the Rub: Donnie Darko was never going to play the straight and narrow. Donnie Darko was always about the underdog superhero that has to make a sacrifice in order to save the world from crushing mediocrity (... and Jim Cunningham, "the Antichrist"). If the general public didn’t understand immediately, they would sooner or later, even if it meant a few tweaks and re-rubs along the way.
Enter Donnie Darko - The Director’s Cut (2004), the little science fiction epic that could. Three years after the movie stumbled in its quest to reach the acceptance of the masses visionary director Richard Kelly was approached by the movie’s original U.S. distributors who in a moment of savvy opportunist clarity knew the movie needed a little re-modeling in order to extend its unique take and touch a few more hearts and minds.
Kelly re-assembled the film, adding in numerous scenes that had been deleted from the original cut, as well as including pages from The Philosophy of Time Travel book as chapter points. He also re-mixed the sound, adding new symbolic sound effects, enhanced the special visual effects, and shuffled some of the key pieces of music back to what he’d originally intended, but had been unable to do so due to licensing problems.
Although many of the film’s purist fans will argue the Director’s Cut simplifies the movie too much and reduces the interpretive elements, others will champion Kelly’s decision to include imagery he’d wanted to use from the beginning; such as the descriptions and explanations from Roberta Sparrow’s Philosophy of Time Travel. There is also more depth to the characters, especially the Darko family, but also Donnie’s English teacher Ms. Pomeroy (Drew Barrymore, who, rather curiously, was also executive producer) and his psychiatrist Dr. Thurman (Katharine Ross).
Aside from all the psycho-babble - The Living Receiver, The Manipulated Living, Metal Artifact, Ensurance Trap - the main theme of Donnie Darko is that of loneliness: “Every living creature on Earth dies alone.” Emotional fragility and the stark beauty of the words “cellar door”. There is a religious subtext about faith: atheism vs. agnosticism vs. God, and the character of Donnie Darko manipulates time and space like a God, or to be more precise, he becomes a martyr, his actions engineered by advanced beings from the future (a narrative concept that although illustrated in slightly more detail in the Director’s Cut is still left as mysterious as the entire movie).
The events of Donnie Darko take place in the 28 days preceding Halloween, 1988 (in fact the number “8” is used significantly throughout the movie). There are numerous references to the horror sub-culture; Donnie’s mother Rose (Mary McDonnell) is reading Stephen King’s supernatural monster epic It, Donnie and girlfriend Gretchen (Jena Malone) go to the cinema to watch The Evil Dead (in a curious double bill with The Last Temptation of Christ). The movie’s Tangent Universe crux occurs during a Halloween party when Donnie, Gretchen, and two friends abandon the party to go to Grandma Death aka Roberta Sparrow’s (Patience Cleveland) house only to collide with fate’s deadly irony.
Yes, the realm of Donnie Darko is a mad world, but realised with such a vivid imagination and confident understanding of the psychological and emotional nuances and contradictions that exist within us all. The movie's mood and tone reminds me of Don DiLillo's brilliant novel of American suburban family angst, White Noise, which has never been filmed, but should. The performances are all excellent, especially Jake Gyllenhaal, but also Mary McDonnell, Jena Malone, and Katharine Ross. Drew Barrymore is probably the movie’s weakest link. Trainspotters will notice Seth Rogen in his feature debut.
Despite its extraordinary supernature Donnie Darko is not for everyone. It captures a literary atmosphere whilst behaving like pure cinema. It rewards as it confounds, and just as I admire David Lynch’s Lost Highway, I champion Donnie Darko for possessing a texture, mood and movement all of its own.
“Eventually [the Tangent Universe] will collapse upon itself, forming a black hole within the Primary Universe capable of destroying all existence.”
Here's the Director's Cut teaser trailer:
Donnie Darko - The Director's Cut DVD (a 2-disc special edition with a plethora of extras including new audio commentary with director Richard Kelly in conversation with buddy Kevin Smith), courtesy of Madman Entertainment, many thanks!
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Comment by Norm
Consumption Malfunction
Equal and Opposite
Arses and Elbows
Footy Power
Comment by Damo
I think your made a good effort at nailing this jelly to a wall .
I absolutely love this film.
The vagueness of the story adds to it more than anything.
Donny finding the wallet just cracked me up.
I am very skeptical about a directors cut of this film.
I saw the out takes from the DVD and firmly believe that they were better left out.
So I guess what I am saying is that less is more and vagueness leave open the cellar door to interpretation.
Comment by Bryn
Horrorphile
therein lies the paradox Rub. It's an itch impossible to scratch.
Damo,
cheers ... I couldn't remember the original version well enough, so watching the Dir's Cut was almost like watching it for the first time. Generally I'm all for vagueness, but there were elements surrounding the story that Kelly put in that I appreciated. I suppose the biggest concession is the inclusion of the pages from the Time Travel book, which both illuminates, but also de-mystifies.
Tough nut to crack.
Comment by ShaunK
Screen Adventure
Comment by Bryn
Horrorphile