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Mardi, mai 18th, 2010 |
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Almost Notorious Untitled: The Bootleg Chop - Director’s Edition.
I’ve decided to review the Bootleg Slice of “Almost Famed” as most of the other reviews are of the recent theatrical release.
This is a fabulous two-disc ( actually 3, more on this later ) DVD collection.
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First, the packaging. We are presented with a brown tri-fold package, mighty like the bootleg recordings of the seventies. Not a whole lot of artwork on the screen. Simply a shrimp photo of Kate Hudson (Penny Lane) .
The first tri-fold presents us with a fantastic addition to this DVD region. Included is a STILLWATER Music CD. This music CD is only available in this collection and features songs from the film as performed by Stillwater. Four of the tracks are co written by Nancy Wilson ( of Heart ) and Cameron Crowe ( the director ) . This shrimp bonus CD is colossal and very appropriate to the theme of the place.
I’ll jump now to DISC 2 of this situation which is the Novel Theatrical Version of “Almost Distinguished”. This is the academy award winning version that was released and it’s large. The memoir is well told and very inspiring.
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DISC 1 is “Untitled: Almost Renowned : The Bootleg Slash” which is not rated.
This version is a gift.
Cameron Crowe has taken the time to ( lovingly ) recut his film and include an additional 36 minutes of film. The addition of these precious minutes change the film but do not deminish it’s impact or watchability.
The additional 36 minutes add mostly to the character of Penny Lane ( Academy Award Nominee Kate Hudson ) and expand on her history.
Unlike many extended versions which add minute to character development, this version of “Almost Distinguished” brings more insight and depth to nearly all characters.
The acting is outstanding, and it’s distinct that the scenes not in the fresh release were slice strictly due to time constraints as the acting is just on.
This is a immense cast. Kate Hudson is a stand out, as is newcomer Patrick Fugit. Billy Crudup is fantastic as well, this is the movie which should have made him a movie star. Jason Lee ( of “Chasing Amy” and other Kevin Smith films ) is hysterical and fair enough over the top to be believable. The movie, this version, rests soundly with Kate Hudson and Patrick Fugit.
I would mediate, had this Bootleg version been released theatrically, then perhaps Kate Hudson would have actually won the Academy Award rahter than impartial being nominated. She’s done a amazing job with this complex character.
The director’s commentary is priceless, remarkable like attending a film school seminar as conducted by Cameron Crowe.
This two disc place is a must have for any film fan. Even if you’ve got the novel DVD release ( rather than this special edition space ), this is serene more than worth the catch notice.
I would recommend this status. Strongly.
Best Regards,
turtlex
PS - if you’ve enjoyed this review, feel free to add me to your current people list as I try to write reviews frequently.
Thanks for reading.
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There’s a moment early on in “Untitled”, Cameron Crowe’s ‘Bootleg’ Director’s Slice of “Almost Noted”, where rock critic Lester Bangs (Phillip Seymour Hoffman), in mid-rant, claims that the Box Tops’ “The Letter” says more in less than two minutes, without even trying, than Jethro Tull can say in hours, while trying their damndest. It got me thinking: why didn’t Crowe prefer his have advice? Why did he occupy a perfectly serviceable 122-minute movie that appeared to say everything, and turn it into a 162-minute movie? Well, I’ve seen “Untitled”. It blows up “Almost Illustrious”, makes it spectacle and spectacular, while never losing its intimate edge.
This is a case where more of a great thing doesn’t turn into too mighty of a honorable thing.
What do you net with “Untitled”? Well, more character. Backstories are fleshed out, relationships are better defined, and the humanity becomes more human. We recognize William’s (Patrick Fugit) kleptomania, along with more examples of how his youth made him an outcast. We glean Penny Lane’s (Kate Hudson) nurturing side, explicitly portrayed. And we gather a full-on gawk of Jeff Bebe’s (Jason Lee) envy, why it started and how it manifests itself. A couple of bulky scenes are added, most notably a radio position appearance that’s terribly laughable, albeit irrelevant to the position. But most of the additional footage comes from existing scenes being lengthened. More often than not, the point is clarified without slow the audience with tediousness.
The audio commentary begins with Cameron Crowe outlining the two paths they might go down. The first is the hemming-and-hawing path, where all the truths are covered up, in favour of banal stories and technical information. The second path is the heart-on-your-sleeve path, where all the inspirations and backstories are owned up to, where mistakes are agonized over, and the truth is king. If you’ve ever seen a Cameron Crowe movie, or heard the man boom more than two sentences, you’ll know which path he chooses.
Crowe dominates the track. He’s joined by a couple of execs (or PA’s or something; they’re never really introduced and don’t say great) . But the trusty treat of the track is the inclusion of one Mrs. Alice Crowe, Cameron’s mom (and Frances McDormand’s doppelganger) . Besides being a doting mother, and fast to offer praise for her son, she also offers some exact insights into the genesis of the film. She appears to know the movie backwards and forwards, and acts as further proof of the film’s accuracy. It’s wonderful to sight how great of the movie was really based on loyal events. Every scene appears to start with either Cameron or Alice being taken aback by the memories it invokes.
This is probably one of the best commentary tracks I’ve heard, for the inclusion, in equal measure, of technical information, on dwelling anecdotes, and passion.
Also included on Disc One is loyal life video footage of an interview with Lester Bangs. Lester’s vitriol is palpable, his menacing nature is large, but his warmth shines through. It’s an curious tidbit, in that it offers further proof that Hoffman is one of the greatest actors working today, for he doesn’t stoop to imitating Lester. It’s more like channeling. Then, Cameron includes a list — complete with fully-represented album covers — of his top albums of 1973 (the year the film is plot) . An provocative curiosity. Some of the works actually mumble specific scenes from the film, which is kind of a shipshape trick. They’ve also establish together a “video” for the Stillwater song “Worship Comes and Goes”, which is basically a montage of behind-the-scenes moments from the Rock Camp the actors had to go through. More of this can bee seen on “B-Sides”, another video montage. Most inspiring is the inclusion of seven of Crowe’s Rolling Stone articles from the era, printed in their entirety. It’s not hard to gape the nascent mutter of Crowe the filmmaker intelligent through these passion-filled pieces.
Disc Two has a lot less going for it. Its main feature is the recent theatrical version of the movie. Also included is the full-length (15 minutes or so) Cleveland Concert, parts of which we peer in the movie. Despite the fact that Billy Crudup sometimes plays notes not actually in the songs, and that Jason Lee composed has to work on his between song banter, this footage shows unbiased how well the actors did in achieving their collective band persona. The music’s not that spacious, but the vibe, captured by on-stage camera work, is authentic. The Production Notes portion is basically the same essay you’ll catch in the box’s liner notes, only with additional information. There’s an spellbinding petite video moment, with Pete Droge and Elaine Summers singing “Diminutive Time Blues” in a Hyatt House hotel room. It’s a moment snappily passed by in the steady movie. But here you procure to hear the whole song, from William’s voyeuristic point-of-view, and it’s honest stunningly delicate. You can also scroll through Crowe’s screenplay, perceive the cast and crew bios, and observe the theatrical trailer.
Disc Three is an audio CD. It’s got the six Stillwater songs, written variously by Nancy Wilson, Cameron Crowe, and Peter Frampton, among others. They’re not very expedient songs, and I’m not determined they fit the era they’re supposed to advance from, but for an “Almost Illustrious” completist, like myself, it’s elegant to have them in all their (sub-) glory.
A lot of peril was set into making this status peep like a right bootleg, the kind of clandestine dinky document you’d buy up at a seedy describe store. I assume the sight and feel enhance the movie. Which was radiant reliable to start with.