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Match Cuts: “Dark Star”

Match Cuts: “Dark Star” (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 John Carpenter’s new film “The Ward,” we’re looking at his very first film: “Dark Star.”

EDITIONS:
-Original Movie Cut (1974): 68 minutes

-Theatrical Cut (1975): 83 minutes

THE STORY:
The four-man crew of the spaceship Dark Star is twenty years into their mission to locate and destroy unstable planets that pose a threat to future Earth colonies. The spacemen, led by Lt. Doolittle (Brian Narelle), dump bombs on the unstable planets then blast away at hyperspeed before they explode. Their lives between detonations are boring and tedious; the crew is so disengaged and disinterested in their jobs that they barely notice that Dark Star has been damaged in an asteroid storm, and that the malfunction could have disastrous consequences for their next bombing run.


REASON FOR MULTIPLE VERSIONS:
“Dark Star” began life as a University of Southern California student film by co-writer/editor/co-star Dan O’Bannon and producer/director/co-writer John Carpenter. Screened locally on campus and at a few festivals, the film garnered positive reviews and zero distributor interest until Carpenter brought it to veteran Hollywood producer Jack H. Harris. As the man who shepherded movies like “The Blob,” “Equinox,” and “Schlock” to theaters, Harris had a good track record with young directors and science-fiction, so he decided to to take a chance on “Dark Star.” He gave Carpenter and O’Bannon roughly $60,000 to expand the 68 minute film to feature length by shooting several additional sequences. In the most famous, the ship’s resident alien escapes from his room during dinner and leads the hapless Sgt. Pinback (O’Bannon) on a high wire chase through the ship’s ventilation system and elevator shaft.

Though he begrudgingly fulfilled Harris’ requests, Carpenter didn’t like working with his new producer and hated his demands. Thus the “Original Movie Cut” as it’s described by VCI, the distributors of “Dark Star”‘s current DVD edition, which according to their official site “honor[s] the filmmakers’ wishes.” Confusingly, though, this Original Movie Cut does include at least one sequence that was shot for Harris’ Theatrical Cut (the Pinback elevator chase). That suggests this “original” version is a cross between the first director’s cut Carpenter screened at USC in 1974 and the one that Harris released to theaters in 1975.

KEY DIFFERENCE BETWEEN MULTIPLE VERSIONS (SPOILERS AHEAD):
The previous section laid out the main differences for the films: the Original Movie Cut runs 68 minutes while the Theatrical Cut is 15 minutes longer with three additional sequences. Both cuts open in identical fashion: a video message from Earth to the Dark Star followed by the crew blowing up their nineteenth unstable planet. From there the two versions split: the longer cut shows the Dark Star come under assault from an asteroid storm. The full scene isn’t available on YouTube (none of the cut scenes are, unfortunately) but you can see a glimpse of it at 1:06 of the “Dark Star” trailer:

This scene is particularly important to the narrative because the asteroid storm damages a crucial laser needed to control the Dark Star’s bombs; in the Original Movie Cut, which is missing this scene, the malfunction that ultimately causes the destruction of the ship and the death of our slacker heroes has no clear cause. This sequence also introduces us to the ship’s computer, voiced by Cookie Knapp. Carpenter must have hated how this computer looked (which you can see at 1:46 of the trailer above) — with numbers and letters arranged on an old monitor so they look like a human face — because almost every shot of it in the Theatrical Cut of the film is missing from the Original Movie Cut.

Less important to the narrative but also missing from the Original Movie Cut are two scenes that immediately follow the asteroid storm. In the first, Doolittle, Pinback, and Sgt. Boiler (Cal Kuniholm) unwind after their close call with a trip to the food storage locker they’ve converted into sleeping quarters. Not a whole lot happens — Boiler even gets so bored he starts up a game of 5-finger filet — and that’s the point: space travel in “Dark Star” ping pongs between white-knuckle excitement and bloody fingered boredom. Eventually Doolittle leaves and goes to another room, where he plays a homemade musical instrument made out of empty bottles and assorted knick-knacks. After he plays some music (written, like the rest of the film’s atmospheric score, by John Carpenter) he goes to see Sgt. Talby (Dre Pahich) in the observation deck, which looks like a giant version of the Pop-O-Matic bubble, and the two cuts resynchronize.

IF YOU ONLY WATCH ONE VERSION OF “DARK STAR,” WATCH:
The Theatrical Cut. Even if the Original Movie Cut is the version Carpenter and O’Bannon prefer, Jack Harris got this one right. Though O’Bannon dismisses the “Dark Star” that audiences got to see by saying that he and the other filmmakers “had the world’s most impressive student film and it became the world’s least impressive professional film,” the quote-unquote “professional” version plays better. Ironically, the stuff that Carpenter complains Harris wanted cut — the scenes of the crew sitting around and killing time — are longer and more extensive in the version Harris demanded. The Original Movie is more streamlined, I suppose, but it’s also an easier sit. The theatrical cut gives you a better taste of the soul-crushing boredom of space travel, which I’m pretty sure is a big part of what Carpenter and O’Bannon were after in the first place.

Even more importantly, the asteroid storm scene that’s missing from the Original Movie Cut sets up the MacGuffin that eventually triggers the film’s explosive finale. Without it, the end of “Dark Star” is missing its motivation. When Talby tells Doolittle he’s “found the malfunction” in the Theatrical Cut it’s obvious he’s talking about the broken laser. When he says the exact same line in the Original Movie, it doesn’t make any sense. What malfunction? It’s the first we’re hearing about it. I suppose you could make the argument that Carpenter and O’Bannon wanted the ending to have more of an air of randomness and inescapability. But the Theatrical Cut has those as well (a freak asteroid storm’s pretty random and inescapable too, y’know). It also has a more satisfying narrative throughline.

The Theatrical Cut is still only 80 minutes long. It’s not like it’s massive time commitment to go for the “longer” version of this movie. It may not fly by at hyperspeed like the Original Movie, but it’s a more satisfying trip.

The Original Movie Cut and Theatrical Cut of “Dark Star” are available together on a two-disc Hyperdrive Edition DVD. Which is your favorite cut of the film? Tell us in the comments below or on Facebookand Twitter!

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Last-Minute Holiday Gift Guide

Hits from the '80s are on repeat all Christmas Eve and Day on IFC.

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GIFs via Giphy, Photos via The Everett Collection

It’s the final countdown to Christmas and thanks to IFC’s movie marathon all Christmas Eve and Christmas Day, you can revel in classic ’80s films AND find inspiration for your last-minute gifts. Here are our recommendations, if you need a head start:

Musical Instrument

Great analog entertainment substitute when you refuse to give your kid the Nintendo Switch they’ve been drooling over.

Breakfast In Bed

Any significant other or child would appreciate these Uncle Buck-approved flapjacks. Just make sure you’re not stuck on clean up duty.

Cocktail Supplies

You’ll need them to get through the holidays.

Dance Lessons

So you can learn to shake-shake-shake (unless you know ghosts willing to lend a hand).

Comfy Clothes

With all the holiday meals, there may be some…embigenning.



Get even more great inspiration all Christmas Eve and Day on IFC, and remember…

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Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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GIFs via Giphy

Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

via GIPHY

Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…

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IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.

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IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).

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IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.

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IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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