Sin City: Recut – Extended – Unrated (2005/Miramax DVD)
Picture: B-
Sound: B Extras: B Theatrical/Uncut: B/B+
NOTE: This title is now available in the Blu-ray format
and you can read about that at this link:
http://www.fulvuedrive-in.com/review/8481/Sin+City:+Recut
When we look back, the hype about “Digital Cinema” is
going to be one of the most embarrassing things from our time. It will make us look like a bunch of idiotic
Neanderthals, as if we acted like we invented the future all of the
sudden. Already, the idea seems like
some joke. Two non-animated feature hits
from 2005 already are showing us how this change is upon us. When George Lucas’ Star Wars: Revenge Of
The Sith is discussed, its digital aspects are discussed as much as its
politics or the end of the feature productions in the franchise. Sin City, which features a total of
three directors (Robert Rodriguez, Quentin Tarantino and creator Frank Miller)
and has already had a successful regular DVD release (reviewed elsewhere on
this site), is discussed as a great adaptation of a graphic novel/comic
book. The digital aspects are always
secondary, especially because they work better here.
That is a big difference and it is about more than the
violence and verbal graphicness (and satire thereof) of the work. Now comes an expanded version of the film in
a double DVD set dubbed Recut – Extended – Unrated that is even more
like the book than the initial theatrical and DVD releases. As a matter of fact, there are new narrative
opportunities and options of how you can watch the multiple storylines. That is nice, interesting and different, with
the breaking up and interactive abilities bringing it closer to the idea of a
series of graphic novels than a feature.
This is not to say this brings it down to the level of a violent cable
TV mini-series, because this is still meant to be seen on as large a screen
(detail troubles notwithstanding) as possible.
It shows why the big theatrical screen going digital is
not an excuse to make cheap straight-to-video or cable filler, something its
commercial and critical success proves.
Yet, any release can have both and still be a disappointment, but the
world of Frank Miller that previously came through in great sardonic ways in
Irvin Kershner’s underrated Robocop 2 (1990, reviewed elsewhere on this
site) came through. One interesting
thing about the visuals of both films that I like is that there is light in
places and spots where it usually would not be on walls, people and in other
subtle ways in the mise-en-scene. This
was something Joel Schumacher’s underappreciated Batman Forever (1997)
also did, having some Miller-like dark moments among its lighter and more
colorful version of the Tim Burton approach to the franchise now ended.
The first Burton Batman in 1989 was meant to negate
the personal and political potency of Miller’s classic Dark Knight Returns
book, but you cannot suppress great art forever. Sin City arrives the same year Batman
gets darker (finally) in the impressive Christopher Nolan Batman Begins
feature. The argument could be made to
trivialize graphic novels and comic books by saying they are easily lent to
digital video because both are cheap and pulpish, but this really proves that
the digital; medium like any other can be political and powerful when not
treated like fluff. In the world of
Miller in general, there is decay and corruption at every turn, including a
sense of perpetual betrayal from a world that was supposed to be better. That is why a sequel like Robocop 2
makes sense since the great city of Detroit is being gutted and bought out by
the corporation OPC (Omni Consumer Products) who already failed to keep the
empty promise of rebuilding the city in the first film to the point they want
the original Robocop to disappear. No
corporation is interested in the dark town that Sin City offers, so
beyond redemption that even multi-national corporations do not want to go
there. That is why it is truly everyone
for themselves and that includes some sinister people.
The anamorphically enhanced 1.85 X 1 image comes from the
digital High Definition source and like the last DVD looks good, but still has
fazing when people move and detail limits.
The regular cut has Dolby Digital and DTS 5.1, both of which are about
on par with the previous DVD, but a little less of the twiddle interference
than that edition. The extended version
is unfortunately Dolby-only, but there are three commentary tracks, so the DVD
may not have had the room. This is
enough of an improvement from the previous version to be happy about, though
others were happier to begin with.
Extras are obviously far more abundant in this edition,
including a full copy of one of the graphic novels and a track that records the
audience reaction to the premiere screening in Austin, Texas. Rodriguez participates in two commentary
tracks, one with Miller, the other with Tarantino. Rodriguez and Tarantino were so great
together on the From Dusk Til Dawn, though not as often here. Miller is there the whole way pretty
much. DVD 1 also has a teaser/trailer
section, an interactive game and featurettes on getting Miller involved, getting
Tarantino to shoot his sequence, one of cars, another on props, one on costumes
and one on the unique make-up needs of the film.
DVD 2 has the longer version in four parts representing
the four books adapted as separate chapters!
You also get the film (or is that HD) school featurette, the high-speed
green screen version, the Tarantino sequence in all 14 non-stop minutes,
Rodriguez cooking breakfast for the film and a party for the film. In total, this is one of the most intimate
looks at a feature production we have seen to date, not unlike the Peter
Jackson King Kong Diary set we just looked at. Unlike video unto itself, these are the kinds
of programs that might inspire people who could actually make good
features.
Finally, without getting into any debates, the question
has been asked if this is a Film Noir.
Well, it is not on film, so that alone disqualifies it for that title,
even if it is doing some of the visuals of the original Film Noirs from 1941 –
1958. Is it a Neo-Noir? Almost, but its inability to deal with gender
and the fact that the book is not involved with not taking this on either is
too far away from real Noirs. There are
no mirror images of people, themes or other subjects. This is not totally in black and white,
though Rodriguez understands the concept of deep focus used in so many Noirs.
Noirs usually do not have multiple storylines, and when
they have like Orson Welles’ Citizen Kane, they are layers of the same
thing. It is also too intentionally
comic to be a Noir. As well, the way it
is shot is more like a comic book, and this is not the language of any Noir, no
matter how expressionistic. No, like
Ridley Scott’s Blade Runner (1982, referenced by this film with Rutger
Hauer’s role) in any version, this is a mix of styles and more Post-Modernist
than anything. Sin City is the beginning
of the first full digital franchise, with sequels finally announced. This could be the beginning of something big.
- Nicholas Sheffo
