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Match Cuts: “Daredevil”

Match Cuts: “Daredevil” (photo)

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In Match Cuts, we examine every available version of a film, and decide once and for all which is the one, definitive cut worth watching. This week, in honor of the new Marvel Comics superhero movie “Captain America: The First Avenger,” we’re looking at the Marvel Comics superhero movie “Daredevil.”

EDITIONS:
Theatrical Cut (2003): 103 minutes
Director’s Cut (2004): 133 minutes (listed at 124 minutes on the box for some reason)

THE STORY:
Blinded as a boy in a construction site accident, Matt Murdock (Ben Affleck) prowls the streets of New York City’s Hell’s Kitchen, defending its people as the masked vigilante Daredevil. Matt can’t see, but his accident boosted his remaining four senses and gave him an extra sense to boot, a “radar sense” that allows him to map his environment by interpreting the movement of sound waves. By day, Matt is a lawyer; by night he seeks the justice he doesn’t find in the courtroom as Daredevil. It’s a sad, lonely life until he meets Elektra (Jennifer Garner), the karate expert daughter of a Greek billionaire (gotta love comics). With their shared love of tight leather and beating the shit out of people, they seem like kindred spirits. But New York’s crime Kingpin (Michael Clarke Duncan) is looking to get even with Daredevil and Elektra’s father, and he sends a deranged hitman named Bullseye (Colin Farrell) to break up the happy couple.

REASON FOR MULTIPLE VERSIONS:
All Hollywood movies are the product of collaboration between many different people. But from the sound of “Daredevil”‘s two audio commentaries — one for each cut — all the different people in charge of “Daredevil” had different ideas about what the film should be, and their collective vision for the project was about as clear as Matt Murdock’s. 20th Century Fox hired Mark Steven Johnson to make “Daredevil” on the basis of his screenplay and his take on the character, which was dark and bleak. Then they tested the film and discovered that audiences preferred the relationship between Affleck and Garner. In order to put the focus more squarely on the love story and to accelerate the film’s languid pace, they demanded major cuts. The studio’s shortened version opened in February of 2003 and did well enough at the box office to convince them to release (something close to) Johnson’s original cut on DVD.

KEY DIFFERENCES BETWEEN MULTIPLE VERSIONS (SPOILERS AHEAD):
The “Daredevil” Director’s Cut is not one of those cash-in b.s. jobs that’s basically the theatrical version with a couple extra shots of gore or nudity. It’s an extensively different movie. There are subtractions as well as additions, and the film isn’t simply longer, it also has a drastically different tone.

As we already covered, the dictum from up on high at Fox about the film was to focus on Matt and Elektra. Not surprisingly, the most interesting changes between the two cuts of the film occur during the characters’ romance (You can watch the scene I’m about to discuss on YouTube; it’s not embeddable). In the Theatrical Cut, Matt and Elektra meet on the street, and he takes her to his favorite spot in the city, a rooftop with a beautiful view of the New York skyline. It starts to rain, and Matt uses his radar sense to “see” Elektra’s face as the sound of the water drops hitting her skin. It’s a beautiful moment, but it’s almost immediately ruined by the call of duty: Matt’s hypersensitive ears overhear a crime in progress nearby and he tells Elektra he has to go. He’s about to dash off when Elektra asks him to stay with her. Our hero’s torn, but Jennifer Garner ultimately proves to hot to resist, and the film cuts to a tasteful PG-13 love scene. Matt awakens the next morning in his bed with a big smile on his face. He didn’t stop that crime, and people probably died, but hey — dude got laid. All’s well that ends well.

It turns out everything in that sequence after Elektra pleads with Matt to stay was a reshoot ordered by Fox to beef up the love story. In Johnson’s Director’s Cut, Matt leaves Elektra on the roof and throws one of the Kingpin’s thugs a hellacious beating (maybe his blue balls are hypersensitive too). Only after he kicks the crap out of the goon does Daredevil notice a kid cowering in the corner, freaking out that some dude dressed as a Leather Daddy Satan is using his father’s face as a punching bag. “I’m not the bad guy, kid,” Daredevil tells him.


In general, the Director’s Cut plays up that sense of moral confusion — is Daredevil a hero or just a screwed up guy with special powers? — that was present in the Theatrical Cut but sublimated to make room for more action and romance. One of the most effective and interesting shots in the entire movie is only available in the Director’s Cut. The only way Matt Murdock can fall sleep at night is by using a sensory deprivation tank to shut out the sounds of the world. After another evening as Daredevil, Matt is about to lay down and go to sleep when he hears the sound of a woman crying out for help. Matt’s too far away to rescue her in time, but to him it sounds like she’s laying on the floor of his apartment. He sits and listens to her murder and then shuts the sensory deprivation tank’s lid. This beat, missing from the Theatrical Cut, reinforces just how much being Daredevil sucks. His powers don’t free him from his disability, they only make him feel more helpless.

It turns out that the man (played by Coolio) wrongfully accused of that woman’s murder becomes a client of Matt’s law practice, and his systematic efforts to prove his innocence form an extensive subplot that’s completely missing from the Theatrical Cut. The best of these scenes see Matt and his partner Foggy Nelson (Jon Favreau) doing a kind of “CSI: Daredevil” routine in the victim’s house. Matt smells the ammonia used to clean the carpet and realizes the crime happened inside and not outside as the police believe. He touches a desk and feels the imprint left by a pen on paper, perhaps a clue to the murderer’s identity. The fact that the entire mystery subplot was removed from the film without anyone noticing tells you how unimportant these scenes are from a narrative perspective, but they do give us a fuller picture of Matt’s life and his powers.

Those are the big changes but there are lots of other little ones: more conversations between Matt and Foggy, several confessional scenes between Matt and a Catholic priest (in the Director’s Cut Matt doesn’t get laid, so I guess he doesn’t have as much to confess), a lengthier introduction for Bullseye involving an amusing run-in with an airport metal detector, and more graphic violence in the fight scenes. There’s also this scene, which more fully establishes just how powerful and dangerous the Kingpin really is:

IF YOU ONLY WATCH ONE VERSION OF “DAREDEVIL,” WATCH:
The Director’s Cut, though there’s a fundamental flaw with both versions of the film. “Daredevil” was designed by Johnson as a serious examination of the price of superpowers on a man’s soul. Matt Murdock makes bad choices, uses his gifts selfishly, and ultimately pays for it with the lives of people he loves. Unfortunately, the action sequences are the worst kind of “Matrix”-lite cartoonish wirework. Characters jump and flip without any sense of gravity or reality. So on the one hand, it’s a gritty look at what it might be like for a real person to grapple with godhood. On the other hand — “WEEEEE! We’re bouncing on see-saws!”

So, admittedly, neither version of “Daredevil” is all that great, but the Director’s Cut is clearly the better of the two. It minimizes the cartoony elements and beefs up the hero’s anguish and moral ambiguity. It expands Matt Murdock’s character and his world so that his whole story doesn’t just revolve around his crush on this girl and his need to avenge her death. Since Johnson’s intended arc for Daredevil was about him coming to grips with the fact that vengeance won’t bring him peace, that’s pretty important.


Both versions give us ample evidence of why superhero comics can be such a fruitful place for creativity and why superhero movies sometimes are not. The best “Daredevil” comics by artist Frank Miller (“Sin City”) were written at a time when the title was unpopular and in danger of cancellation. With nothing to lose, Marvel gave Miller creative carte blanche. No wonder, then, that his issues were so bold and risky. The “Daredevil” movie is a classic example of cinema by committee. Audiences liked Garner and Affleck, so they threw away the spine of the movie for more love scenes. “The Matrix” sequels were all the rage, so they patterned their fights after it, even though that made no logical sense for the kind of movie they were making. It doesn’t take a blind man to see those were mistakes.

The “Daredevil: Director’s Cut” is available on Blu-ray and DVD. The Theatrical Cut is only available on DVD. Which is your favorite cut of the film? Tell us in the comments below or on Facebook and Twitter.

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The Documentary Now! star shows off his best Han and Chewie.

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Thanks in large part to The Force Awakens not sucking, the Star Wars universe is about to get a lot more expansive. Sequels, spin-offs, TV shows, and more are underway — which means a helluva lotta casting calls. Fortunately, Conan O’Brien got his hands on a few audition tapes of celebrities trying out for a role as a young Han Solo.

Check out Documentary Now!’s Bill Hader, Melissa McCarthy, Portlandia favorite Jeff Goldblum, Todd Margaret star Will Arnett and other funny folks offering their takes on what that younger, brasher space swashbuckler would be like.

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The Breakfast Club Everett Collection

Join the Club

10 Things You Didn’t Know About The Breakfast Club

Catch The Breakfast Club during IFC's '80s Weekend.

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Catch The Breakfast Club during IFC's '80s Weekend.

The Breakfast Club is the king of all teen films, proving that a movie centered around high school angst can be funny, touching, and relatable to all ages. 31 years later, it is the high water mark of teenage drama. Before you spend detention with The Breakfast Club during IFC’s ’80s Weekend, check out a few facts about the making of this teen movie classic.

1. A racy scene was cut from the film.

Breakfast Club
Universal Pictures

Originally, there was a scene in the script where the boys snuck out and found a peephole into the women’s locker room where they spied on a naked P.E. teacher. Molly Ringwald and Ally Sheedy told writer/director John Hughes that the scene seemed gratuitous and he agreed, making The Breakfast Club a rare ’80s teen film with no needless boob shots. Thanks, Molly and Ally!


2. Rick Moranis almost played the janitor.

Rick Moranis Ghostbusters
Columbia Pictures

Carl the Janitor has some memorable scenes in The Breakfast Club, like when he tells the group about the perks of going through their trash and his bonding moment with Principal Vernon. Rick Moranis was originally cast as Carl, but the Ghostbusters star had a very different vision for the role. He came in with gold caps on his teeth and did a cartoon-y Russian accent, which Hughes felt clashed with the more serious tone of the film. So, Moranis was fired and John Kapelos eventually got the part.


3. John Hughes wrote the script faster than Allison eating Pixie Stix.

Anthony Michael Hall Breakfast Club
Universal Pictures

It only took Hughes two days to write the screenplay for The Breakfast Club. He later said that keeping the story in mostly one location made it easier to write and film.


4. Judd Nelson really got into character.

Judd Nelson Breakfast Club
Universal Pictures

For the role of John Bender, Judd Nelson stayed in character for the entirety of his time on set. The outfit he wore in the film was the same as what he wore to the audition, and Nelson even provided his own switchblade. Apparently, he kept the blade on him for protection on the mean streets of Hollywood. Hey, it was the ’80s.


5. Parmesan cheese was used for Allison’s dandruff.

Ally Sheedy Breakfast Club
Universal Pictures

Ally Sheedy didn’t go fully Method for the scene where she adds her own dandruff to her drawing. Instead of real flakes, the crew used Parmesan cheese as a substitute.


6. Black Eyes won Ally Sheedy the part of Allison.

Ally Sheedy Breakfast Club
Universal Pictures

Sheedy had met John Hughes when she auditioned for Samantha (the role that eventually went to Molly Ringwald) in Sixteen Candles. At her audition, she had two black eyes from a set building accident. Hughes remembered her as having a “Gothic look” and called Sheedy to audition for The Breakfast Club. So, if you get terribly beat up on the way to an audition, it might be your ticket to fame!


7. The Breakfast Club Wasn’t the Only Possible Title.

Lunch Bunch Breakfast Club
Universal Pictures/Imgur

Before Hughes settled on The Breakfast Club, other titles bandied about were “Library Revolution” and “Lunch Bunch.” “Library Revolution” seems like a hard sell for the teen crowd and “Lunch Bunch” sounds like some kind of Brady Bunch prequel. Plus, the embarrassment of saying “I love the Lunch Bunch” would have kept a lot of fans silent.


8. John Cusack Was Originally Cast as John Bender.

Better Off Dead
Warner Bros.

The Better Off Dead and Say Anything… star auditioned many times and was initially cast as Bender. But Hughes wanted the character to have a more threatening demeanor, which led to Cusack getting dropped for Judd Nelson. Just as well. It’s hard to imagine ultimate ’80s nice guy John Cusack calling anyone a “neo maxi zoom dweebie.”


9. Molly Ringwald almost played Allison.

Molly Ringwald Breakfast Club
Universal Pictures

Hughes wanted his Sixteen Candles stars to work with him again on his next film, and offered Ringwald and Anthony Michael Hall parts in The Breakfast Club. Geeky Brian was a perfect fit for Hall, but Ringwald was initially offered the role of outsider Allison. Ringwald wanted to play Claire, and eventually convinced Hughes she was right for the snobby girl-with-a-heart-of-gold role.


10. Ferris Bueller Shares a high school with The Breakfast Club.

Ferris Bueller Breakfast Club
Universal Pictures/Warner Bros./Pinterest

Maine North High School in Des Plaines, Illinois was used during the filming of The Breakfast Club. (The library scenes were actually filmed in the gymnasium on a constructed set.) The school was also used for interior filming on Ferris Bueller’s Day Off, though nearby Glenbrook North High doubled as the exterior of the school Ferris ditched. In fact, some posters on the Maine North High walls can be seen in both Ferris and The Breakfast Club. Do the movies exist in the same universe???

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The Breakfast Club Paul Gleason

The Mean Team

The 10 Biggest Jerks From ’80s Teen Movies

Catch Footloose and The Breakfast Club during IFC's '80s Weekend.

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Photo Credit: Universal Pictures/Everett Collection

The ’80s gifted us with many glorious things like “Thriller,” dance aerobics, and Tab, but none quite as glorious as the teen movie jerk. Often a gentleman, but occasionally a lady, these deliciously douche-y antagonists sauntered around the halls of our favorite cinematic high schools with perfectly feathered hair, popped collars, and a general air of smugness. Before you travel back in time to the Reagan Era for IFC’s ’80s Weekend, check out our list of the biggest jerks from ’80s teen movies. Shoulder pads and Aquanet are totally optional.

1. Steff, Pretty in Pink

No man rocked a linen suit and loafers in the ’80s (or really SINCE the ’80s) quite as well as James Spader’s hunky, “richie” bad guy from Pretty in Pink. Steff looks old enough to be in grad school, which may explain why he’s always seen idling in the halls with a cigarette coolly hanging off his lips instead of actually going to class. He’s also the kind of guy who has house parties where he roams around in open silk robes, rolling joints, and condescending to pretty much everyone including his supposed best friend Blane. Steff may harbor a secret crush on polar opposite Andie, but we’ve always had a love/hate crush on him and his ridiculously great hair.


2. Troy, The Goonies

Yes, the Fratellis are the real villains in our favorite flick about a ragtag group of teens searching for pirate treasure, but without number one tool, Troy (Steve Antin), and his equally terrible father trying to turn The Goondocks into a country club expansion, there’d be no reason for the pirate treasure search in the first place. Troy is the epitome of the Letterman jacket-wearing, convertible-driving preppy jerk we’ve come to know and hate from ’80s films. His sole aim is to “make it” with girl-next-door Andy (Kerri Green) so when she refuses to ride up his wishing well bucket (in more ways than one) and sends up his embroidered cardigan instead, he angrily yells, “ANDY, YOU GOONIE!” At least he has his sweater back to keep him warm from the cold shoulder Andy just gave him.


3. Hardy, Some Kind of Wonderful

The highly attractive Hardy Jenns (Craig Sheffer) has many less-than-attractive traits including being cruel, misogynistic (“She’s gonna have to beg!”), cheating on girlfriend Amanda (Lea Thompson), and being a total rich snob. Like fellow John Hughes movie tool, Steff, Mr. Jenns also loves a beautifully cut suit and perfect hair, which may be the only thing bigger than his oversized ego. But none of that is enough to keep him from losing two things he can’t just buy back with his gobs of money: his pride and ex Amanda. Looks like THIS Hardy boy has more than a few mysteries to solve, starting with how to become a less terrible person.


4. Heather Chandler, Heathers

New World Pictures
New World Pictures

Lunchtime poll: would you rather be Heather Chandler or kill Heather Chandler? Such is the dilemma faced by frenemy Veronica (Winona Ryder) whose life (and everyone else’s for that matter) is made a living hell by the resident queen bee of the Heathers clique. Ever stylish, Heather Chandler (Kim Walker) favors violently red power suits with huge shoulder pads and matching hair scrunchies. She’s as ruthless about tormenting anyone who gets in her way or barfs on her designer shoes (ahem, Veronica) as she is her croquet game, and frankly, her acid-tongued, NSFW comebacks (some involving chainsaws) are totally legendary. What’s her damage? Oh, just ruling Westerberg like she’s the queen of Westeros. How very.


5. Biff, Back to the Future

Universal
Universal Studios

Biff Tannen (Thomas F. Wilson) is basically your typical school bully: pushy, a little dumb, and egged on by a gang of equally pushy, dimwit friends in Converse sneakers and 3D glasses. He also can’t take a hint from pretty Lorraine (Lea Thompson) who clearly wants nothing to do with him either inside or outside of a car. Like most bullies, Biff’s main target is resident school nerd, George “HEY McFly!” McFly (Crispin Glover), whom he forces to do all his homework and beats the crap out of on a regular basis. Speaking of crap, though, Biff gets a truckload dumped on him during a game of chicken with George’s son, Marty (Michael J. Fox). Hey, Biff — if you need us to help you clean up, we’re gonna make like a tree, and get out of here.


6. Johnny Lawrence, The Karate Kid

Columbia
Columbia Pictures

No list of ’80s teen movie villains would be complete without mentioning the weirdly prolific William “Billy” Zabka. Johnny Lawrence is, without question, the greatest of his bad guy personas. A top karate student at Cobra Kai, blond jerk Johnny immediately dislikes grasshopper Daniel (Ralph Macchio) after he notices him getting a little too chummy with ex-girlfriend Ali (Elisabeth Shue) at a party. Naturally, this is the catalyst for the showdown to end all karate showdowns, and Johnny will do anything to win; even an illegal move against an already injured Daniel. In his leather jackets and karate bandanas, Johnny is the ultimate dreamy bad boy you love to hate and hate to love. Sweep the leg? More like he swept us all off our feet.


7. Principal Vernon, The Breakfast Club

Universal
Universal Studios

Good ol’ Richard Vernon (Paul Gleason) — or Dick, as Bender (Judd Nelson) would call him — and his 1,000-word essay during Saturday detention are all that stand between our Brain (Anthony Michael Hall), Athlete (Emilio Estevez), Basket Case (Ally Sheedy), Princess (Molly Ringwald), and Criminal (Nelson) and freedom. With a wardrobe possibly raided from Barry Manilow, Vernon is overly stern and harsh, especially to John Bender, whom he locks in a closet and gives detentions to as freely as Oprah gives away cars. Hey, you mess with the bull, you get the horns, right? (Click here to see all airings of The Breakfast Club on IFC.)


8. Reverend Moore, Footloose

There are overly-protective fathers and then there is Reverend Shaw Moore (John Lithgow). Stubborn and pious, Moore refuses to lift the ban on dancing and rock music in Bomont, putting an even bigger wedge between himself and wild daughter Ariel (Lori Singer). Moore is all fire and brimstone in the pulpit, preaching against the very things — like sex, drugs, dancing, and alcohol — he believes led to son Bobby’s death in a car accident. When Ren (Kevin Bacon) stands up to him during a town council meeting and quotes joyful passages about dancing from the Bible, Moore’s demeanor begins to change. Come on, Reverend. No one can resist a slice of Bacon! (Click here to see all airings of Footloose on IFC.)


9. Jeanie, Ferris Bueller’s Day Off

Paramount
Paramount Pictures

Much like Principal Rooney (Jeffrey Jones), Jeanie (Jennifer Grey) is less-than-amused by brother Ferris’ (Matthew Broderick) shenanigans, especially considering he never seems to get in trouble for anything with either their parents or school. But Jeanie’s attempts to catch her brother in the act wind up landing her in the police station where she finds time to make out with a drug dealer and throw some serious shade before speeding off with her mother to try to beat Ferris home. Jeanie Bueller’s day off is decidedly not quite as fun as Ferris’.


10. Stan Gable, Revenge of the Nerds

26 year-old Ted McGinley was cast as cardigan-wearing jock Stan Gable partially based on a calendar-modeling gig he’d had, which explains a lot about what you need to know about Stan. The alpha male of the Alpha Beta fraternity pretty much coasts by on his good looks and athletic abilities while delegating all his dirty work to doofus best friend Ogre (Donald Gibb). But make no mistake, Stan has it out for any and all nerds who try to steal both his spot as big man on campus and his girl. Never cross a man in a cardigan.

Flashback with IFC’s ’80s Weekend July 29-31st!

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