Donnie Darko - Director's Cut

The Eye of Darko.

Near perfection. Donnie Darko stands among the Godfathers, the Seven Samurais and the Casablancas of cinema. Since its theatrical release in 2001, Donnie Darko has set out to be the most successful independent film of all time. Reaching record DVD-sales over the past years, and developing an incredible international cult-phenomenon; Donnie Darko certainly contends as a masterpiece of cinema. Director-writer Richard Kelly essentially set the benchmark for first-time filmmakers, proving that a big-budget and a world-class production team aren’t needed (or even necessary) in creating something brilliant.

Due to the relative low-budget Donnie Darko was originally filmed under (of approx. US$4Million), heavy cutbacks in special effects, music and script were needed. Richard Kelly has commented on numerous occasions on how difficult this film was to sell to distributors, which subsequently led to a much shorter length and reduced his directorial influence over the finished, theatrical edition.

Following the wake of the September 11 Terrorist Attack in the US, Donnie Darko performed extremely poorly in the international box office; barely recuperating production costs and leaving now-famed Richard Kelly an emotional wreck! However, since its DVD-release in early 2002, Donnie Darko has gone on to make over US$10Million in sales, in the US and Canada alone. Receiving little or no marketing, this is an exceptional example of a fantastic film marketing itself. Now, in late 2004, Richard Kelly went back to the drawing board with a little more money, some updated technology and a few deleted scenes to create his new (or original) vision of the film. This is the Donnie Darko: Director’s Cut.

Donnie Darko’s success lies in its highly original narrative, and its extreme ambiguity. It is a film that will not leave empty handed, forcing its audience to embark on a journey of discovery, to attempt to comprehend the events that unfold in front of our eyes. The ambiguous element of Donnie Darko will have people talking for years, and years to come – debating theories into the characters, history and feasibility of the Donnie Darko narrative. The film lends itself to an immense range of readings and interpretations, which essentially means Donnie Darko is a highly engaging, personal film. Every different member of its audience will have something new to add, or another question to ask.

The Donnie Darko: Director’s Cut flips the ambiguous element of the original film around, answering many unclear questions and posing many more. Richard Kelly has made it clear in various interviews, and on the DVDs audio commentary, that “this is [his] original vision.� He loves the fact that he leaves his audience guessing, and investigating into its complex narrative; however he has never presented his original intention behind writing the film. To his credit, he has made is extremely clear that unlike an Oliver Stone or George Lucas “director’s cut�, his new edition isn’t the “definitive�, but simply his own interpretation of his original work.

These vivid green lawns cover for a dirty little secret.

This has upset many, many fans who joined the cult-following surrounding Donnie Darko way back in early 2002. Kelly’s re-envisioning has disproved many different, seemingly valid theories presented to interpret the nature of this complex film. Its obvious to see why many have taken an extremely negative stance on this new director’s cut, as it imposes certain character- and narrative-development scenes that significantly change the tone, and subsequent interpretations of the film. An audience watching the Donnie Darko: Director’s Cut will leave with a still vague, but undeniably clearer image of exactly ‘what happened’ – according to Richard Kelly.

If you have not yet seen the original cut, I recommend you first read the DVDnet review of the initial release to gain fluent understanding of the plot and characters.

To now move into specifics, the Donnie Darko: Director’s Cut has a very different, but irrefutably inherit supernatural theme behind it. The original edition of the film left this supernatural aspect in the air, as to whether or not this is a science-fiction film, or a science-fiction film. However, Richard Kelly has made it clear that he intended for a supernatural driving-force to lie beneath the events depicted, leading to philosophical debate regarding fate and free-will. This is never evidently explored in the original edition, leaving this aspect of understanding to its audience.

The Donnie Darko: Director’s Cut also develops the character of Karen Pomeroy (played by Drew Barrymore) much further than it was in the original release. Her character essentially replaces that of her fictional partner, Prof. Monitoff (played by Noah Wyle) in identifying and releasing crucial points in the narrative later used to properly comprehend the events and actions within the film. Understanding the scientific background behind time-travel, or more specifically understanding the conclusion to the film, is now second-rate to comprehending how (and why) Donnie got to where he is when the curtain closes. Karen Pomeroy mentions a dues ex machina, or ‘god of the machine’, literary device used to save or change a character without any means of character or narrative interaction, that plays a large part in the events of the film.

These are the two serious differences between the original and director’s cuts; but unlike the director’s cut of say, The Butterfly Effect, they don’t dramatically change the entire film (and conclusion) – rather give it a different tone, and reinforce different theory. A number of new special-effects have been implemented in the director’s cut, presumably due to the low budget of the original production. While these are distracting at first, they soon fit in seamlessly with the pace of the film. Various musical items and sound effects have also been altered quite significantly.

Self-help from Patrick Swayze. The world really is ending!

It is extremely difficult to compare Donnie Darko to this later director’s cut, considering that this is essentially one reading of an extremely complex and ambiguous film. Richard Kelly emphasises the fact that this is his interpretation of the film; and like any text or poem, different readings will inevitably arise. However, from a cinematic perspective, Richard Kelly’s latest re-envisioning is definitely inferior to his original masterpiece.

The various audio changes, primarily in music, do not work to Kelly’s favour. Michael Andrews provides a brilliant and haunting score to the film, that is frequently cut up and misplaced in this new director’s cut. This works to the disadvantage to fans of the original, who loved the very carefully placed and extremely diverse range in music. The opening track to the film has been changed, from an Echo & the Bunnymen number to something from INXS, which will delight some and disgust others, as is boils down to an entirely subjective decision.

Many of the scenes re-edited back into the director’s cut were edited out for a reason. Some provide extra character development that simply proves superfluous (except in the case of Drew Barrymore’s character). However, to Kelly’s credit, some scenes fit perfectly and warrant inclusion to the highest degree.

Those who prefer a more coherent, but slightly less engaging and provocative film, the director’s cut is for you. It attempts to tie up lose ends, but significantly restricts the wide range of interpretation open to the original. Fans of the film will definitely want to own both editions, as they serve entirely different purposes. Watch one for entertainment, watch the other for an artistic, thought-provoking experience.

While there are some flaws in this new director’s cut, it is not a failure by any means and still proves to be an excellent film. It simply does not reach the level of ingenuity or perfection of the original, which may never be surpassed.

The 2.35:1 widescreen transfer on Madman’s release of the Donnie Darko: Director’s Cut is adequate but far from exceptional. Considering this was a low-budget film, the relatively poor video isn’t surprising.

Masked bunny coming soon to a cinema near you!

Various artefacts and dirt can be seen throughout the film, appearing as white or black specs. They don’t usually pose a significant threat, but outdoor scenes (primarily those in the opening and closing of the film) will look quite poor on a large display or a computer monitor. Fairly heavy grain is present, which is never a problem as it adds to the atmosphere of the film.

The level of detail is of concern, as too many scenes appear either too soft or blurred in the background. This may often distract viewers, as this low level of detail isn’t often seen in new releases such as this.

This transfer is essentially the same as the initial release of the original cut (also by Madman), with the exception of the new extra scenes and titles.

Madman have presented us with the exact same DTS soundtrack Metrodome released on the original region 2 UK edition of the Donnie Darko: Director’s Cut.

This new DTS soundtrack is, in a word, excellent. Those with home theatre’s sporting DTS support will be very impressed. The Donnie Darko Experience™ is certainly heightened in this highly engaging mix. The most noticeable difference between this soundtrack, and the original Dolby soundtrack found on the initial release, is the boosted ambient sounds, and the brilliant new remixes of your favourite 80s hits. All six channels are thoroughly utilised in musical montages, including a heavy and effective sub presence.

Dialogue is generally easy to hear and well defined. There are a few moments during a musical number when the dialogue is dampened a little, but this never presents a problem. Michael Andrews’ haunting score is delivered with excellent clarity, often bursting through the rear speakers.

This DVD features a Dolby Digital 5.1 soundtrack for those without DTS support, and is in general quite similar. They are approximately the same volume, which is surprising considering DTS mixes are usually louder. Ambience, most notably echoes and superfluous sound effects, are no where near as defined, and the sub is toned down considerably.

This two-disc set includes the original special features from the theatrical Donnie Darko release, as well as a new commentary, a new featurette and a few other bits and pieces.

The infamous letterbox of doom.

To begin with, we have a brand-new audio commentary recorded specifically for the director’s cut featuring director/writer Richard Kelly and personal friend Kevin Smith (director/writer – Clerks, Mallrats). Before touching on the material Smith and Kelly discuss, I must say that this is one of the very best audio commentaries I’ve ever heard. Smith and Kelly engage in a discussion regarding almost every different aspect of the film, highlighting on differences between the original and director’s cuts. For about 30 minutes (towards the end of the commentary) Smith asks a number of questions (FAQ-style) from his fans, about the film. They provide as a fresh, interesting and very relevant source of information – as they’re (just about) all of the questions you’d want to ask Kelly yourself. This audio commentary comes highly recommended, and is alone enough reason to pick up this release. Unfortunately this commentary isn't subtitled.

Disc-two contains the special features, mostly comprised of those found on the original release of the film. The most noticeable addition to this bundle of extra-features is the Darkomentary, a prize-winning documentary from a humble Darko fan, exploring the film and offering some of his obsessive views on the film. You’ll either find this hysterically funny, or terribly… terrible. I can’t work out what I think, because it’s very strange.

Along side the regular cast & crew filmographies are some very brief, but interesting interviews with a wide range of cast & crew members – all offering some insight into their particular side of the film. An interesting production diary with optional commentary is available, which simply highlights the 28 days of shooting the film. A split-screen storyboard comparison is also a part of the ‘behind the scenes’ element of this disc, showing the difference between the storyboarded scene and then the final scene. Footage here is taken from the director’s cut.

Two theatrical trailers, one each for the theatrical and director’s cuts kicks off the various promo features available. Five TV-spots, and two hilarious infomercials comprise the rest of the promos.

To round off the disc we’re presented with a whopping 20 different deleted scenes, with optional commentary. These are the same scenes lifted from the original release of the DVD, so some feature within the director’s cut on disc one.

Madman have presented this two-disc set very nicely, inside an embossed slipcase similar to the UK Region 2 release of a few months ago.

Donnie Darko is a brilliant, highly-original and highly-complex story of one confused, troubled teenager’s journey of discovery. Richard Kelly’s new director’s cut redefines the film into something very different, yet equally as impressive. Each different release complements the other, which essentially means you’re going to have to own both editions!

Having said that, from a critic’s perspective, the Donnie Darko: Director’s Cut does not match the original in terms of technical perfection. There are a few small scenes originally deleted for a reason that will often change the pace of the film dramatically, and the various new special effects added take away from the original dark tone of the film.

"Sometimes there's so much beauty..." Ahh, wrong movie!

This DVD release is a mixed bag. Unfortunately the video transfer isn’t really up to scratch, but I have a feeling the source material is pretty well worn, and accounts for most of the video problems. The new DTS soundtrack is impressive, heightening the Donnie Darko Experience™ experience significantly. On the special features side of things, the brilliant audio-commentary is reason enough to buy this set. The second disc is interesting, but won't warrant a second look.

If you’re a Darko virgin (as I’ve so eloquently put it), I recommend you watch the original cut, then the director’s cut and then perhaps listen to either of the commentaries. This new release is a definite for fans of the film, but I’d suggest casual viewers or first-timers stick to the theatrical cut.

"Why are you wearing that stupid man suit? "