Oliver Stone's "Final Cut" version of his much maligned Alexander the Great biographical motion picture is simply the most monumentally redeeming subsequent edit from a theatrical debacle ever.
There's actually four different versions available (theatrical, director's cut, final cut, ultimate cut). The rejiggering I'm most staunchly voutching for is the third version, officially titled in full as "ALEXANDER REVISITED: THE FINAL CUT". All the versions are significantly different in narrative context and structural articulation (well the "Ultimate" is just a shorter refinement of the "Final" I guess). However, at an unabashed 3 hours and 34 minutes, The Final Cut is the most poignantly pregnant - some 40 minutes heavier than the theatrical, even while trimming out some content from that initial release. Ironically, whereas the theatrical felt like a hard long bloated slog, this substantially more voluminous revisitation carries itself with so much more deftly assured confidence of momentive purpose that its approprately earned heartiness gives the sense of no time wasted at all. Actually, dissecting all of the various incarnations of the seemingly same production is a truly fascinating excercise if you're really curious to. Especially because of how flat-out awful the theatrical version was. While the Final Cut version does retain some flaws, it approaches something approximating masterpiece level status in its epic resonance.
The things you may have initially hated will all still be present - but this time they're also accounted for!
The Final Cut version adds back much essential scenes and nuances, as well as more brutal edits of battle that actually inform the circumstaces and stakes far more effectively. The situational geography and ingenious war tactics are readdressed with much more clarity. And it returns to the original scripted and shot intention for a non linear narrative with scenes jumping from various time periods to contextually strengthen and impact character dynamics and motivations by contrasting juxtaposition. Plus, it may have legendary greek composer Vangelis' most robustly stirring music score!
It's a complicated subject, from a sprawling script, and an audaciously daring director - but the 3rd time's the charm. Oliver Stone's true vision of Alexander is well worth reassessment. Trust me.
There's actually four different versions available (theatrical, director's cut, final cut, ultimate cut). The rejiggering I'm most staunchly voutching for is the third version, officially titled in full as "ALEXANDER REVISITED: THE FINAL CUT". All the versions are significantly different in narrative context and structural articulation (well the "Ultimate" is just a shorter refinement of the "Final" I guess). However, at an unabashed 3 hours and 34 minutes, The Final Cut is the most poignantly pregnant - some 40 minutes heavier than the theatrical, even while trimming out some content from that initial release. Ironically, whereas the theatrical felt like a hard long bloated slog, this substantially more voluminous revisitation carries itself with so much more deftly assured confidence of momentive purpose that its approprately earned heartiness gives the sense of no time wasted at all. Actually, dissecting all of the various incarnations of the seemingly same production is a truly fascinating excercise if you're really curious to. Especially because of how flat-out awful the theatrical version was. While the Final Cut version does retain some flaws, it approaches something approximating masterpiece level status in its epic resonance.
The things you may have initially hated will all still be present - but this time they're also accounted for!
The Final Cut version adds back much essential scenes and nuances, as well as more brutal edits of battle that actually inform the circumstaces and stakes far more effectively. The situational geography and ingenious war tactics are readdressed with much more clarity. And it returns to the original scripted and shot intention for a non linear narrative with scenes jumping from various time periods to contextually strengthen and impact character dynamics and motivations by contrasting juxtaposition. Plus, it may have legendary greek composer Vangelis' most robustly stirring music score!
It's a complicated subject, from a sprawling script, and an audaciously daring director - but the 3rd time's the charm. Oliver Stone's true vision of Alexander is well worth reassessment. Trust me.