A new cut of Alexander featuring Angelina Jolie and Colin Farrell. Actor Colin Farrell (left) and director Oliver Stone of Alexander.________
After releasing a heavily-edited version with the original DVD, Stone went to the cutting room again and returned with what he calls his final visit to Alexanderland. Now, the fruits of his labors, the two-disc Alexander Revisited: the Final Cut, is just out on Warner Home Video. Stone introduces this newly-constructed version that restores footage from the theatrical release cut from the original DVD, and adds lots of new stuff not seen before.
In Stone's introduction to the film, the director says that when the offer came to re-cut the movie so it would resemble the epics he remembered being enthralled with when growing up ( i.e. Lawrence of Arabia ) , he couldn't resist. True to his desires, this new version—which assembles the film in a completely different approach—is truly epic at three and a half hours, and includes an intermission that is a welcome breather.
I'm happy to report that, thanks to a bad cold, I happily settled in and truly enjoyed the movie in one sitting. You still have to follow Alexander's exploits very carefully because, now, his battle triumphs are presented in flashback at the end of his young life and there's a lot of jumping around; the original, as I recall, was done in a more precise chronological order. But the overall result is a much more satisfying version of the events, as we slowly find out what made Alexander tick.
LGBT readers will also be happier with the much-clearer evidence of Alexander's preference for male lovers. Now, instead of just jumping naked into bed with Bagoas, the infamous Persian boy, before Stone chastely cuts away, the blond Colin Farrell shares a passionate kiss and embrace with his young male servant. Later, there's a touching scene in which Bagoas actually gets to speak ( ! ) while declaring his love for Alexander. Alas, the equally intense relationship between Alexander and Hephastion ( the pumped-up, eyeliner-sporting Jared Leto ) remains one of heavy flirting with the eyes and tender hugs. We still get an array of accents ( with Angelina Jolie as the crazy, power-mad mother; Val Kilmer as the father; and narrator Anthony Hopkins all going in their own linguistic directions ) and this final cut still has flaws. But the difference between the 2004 theatrical release and this version are immense and it's a pleasure to recommend. Bravo, Mr. Stone!
Isabelle Huppert, one of the French cinema's biggest stars ( and most familiar to LGBT audiences as one of Ozon's 8 Women ) collaborates for the umpteenth time with director Claude Chabrol on A Comedy of Power. Huppert plays Jeanne Charmanat-Killman, an all-powerful judge who is determined to get the goods on each and every member of a consortium of crooked corporate bigwigs. Jeanne goes about her business in a precise, cool manner, doesn't allow emotion to come into her judgment and is never without her red gloves ( a subconscious, very French psychological nod to Lady Macbeth—get it? ) .
As the film progresses, a lot of things about Jeanne begin to crumble around her—her marriage goes on the rocks, her life is threatened when her car brakes are cut, she is subject to intimidation, etc. But nothing seems to bother Jeanne, and those in the highest seats of power—aware that she is getting too close for comfort—bring in another female judge to watch her, report back to them, and mainly distract her with what they assume will be innate feminine competition. But the two ladies instantly figure this out and become easy-going allies, both determined to root out the white-collar criminals.
An American version of this Deborah vs. Goliath story, a roman a clef inspired by France's biggest business and political scandal in decades, would likely ratchet up the high drama, tension and imminent danger, but Chabrol's film ( and Huppert's performance ) stays calm and collected. There is nothing here nearly as pumped up as Erin Brockovich or Sissy Spacek's Marie and the result, after years of conditioning of these pictures and all those Lifetime Television for women-in-jeopardy flicks, should be refreshing. But Chabrol's straight-ahead, matter-of-fact approach is not particularly involving.
Film Notes:
Columbia College has created the first annual Queer Film Prize. Simply titled 'Q,' the prize will be awarded to one Columbia College film student ( both undergrad and graduates are competing ) whose short film best depicts issues and images reflecting the LGBT lifestyle. Eight finalists have been chosen and their work will be screened, followed by announcement of the winner, at 7 p.m. on March 7 at the college's Film Row Cinema ( 1104 S. Wabash, 8th floor; free admission ) . One filmmaker will win an all-expenses-paid trip to Frameline, San Francisco's gay and lesbian film festival, where his or her film will probably be showcased. Call 312-344-6709 for more info.
Zodiac, director David Fincher's long-anticipated film version of the events surrounding the infamous serial killer that terrorized the San Francisco area in the 1960s and '70s and starring Jake Gyllenhaal ( in his first screen appearance since Brokeback Mountain ) , Mark Ruffalo and Robert Downey, Jr., opens this Friday but was not screened in time for deadline. My review will appear next week.
You can find my archived reviews at www.windycitytimes.com or www.knightatthemovies.com .
