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Five ridiculous studio mandated endings

Five ridiculous studio mandated endings (photo)

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Most Hollywood movies are products of collaboration and compromise. Unless their directors have the contractual right to select their own final cut, the ultimate decision on the content of the film belongs to the studio that distributes it. Occasionally, this process can produce a stronger movie than one made in a creative vacuum. Other times, the results can be disastrous. Just recently, I watched two films whose endings had been radically recut by their distributors in last ditch attempts to lighten up uncommercial material. When test audiences found 1972’s “Conquest of the Planet of the Apes” too dark for their taste, an unmotivated reconciliation speech was hastily and awkwardly woven into existing footage. “Conquest” is a famous example of studio intervention; 1997’s “Mimic” is not. But as I sat and watched a character heroically sacrifice themselves and then magically reappear alive a few scenes later, I could just tell I was watching a resolution other than what director Guillermo del Toro originally intended. A little research confirmed my suspicion.

Those movies got me thinking about the most ridiculous studio mandated endings in history, and by ridiculous endings I mean the ones that deviate in the most extreme ways from the directors’ and writers’ original intentions. Ridiculous means tragic becomes comic, sad becomes happy, and dead characters get a new lease on life. There are many, many examples of this phenomenon. Here are my picks for the five most flagrant. And given that this is an article about endings, you should know that the SPOILER ALERT is in full effect throughout.


“Suspicion” (1941)

Directed by Alfred Hitchcock

“Suspicion” was based on a 1932 novel called “Before the Fact,” notable for its story of murder told from the point-of-view of the victim. Hitchcock’s big-screen adaptation was notable for the fact that its studio, RKO Pictures, demanded an ending that totally reversed the original novel’s intent. In both versions, Lina (Joan Fontaine) falls for Johnnie (Cary Grant), but begins to suspect after their wedding that he is not an ideal husband. She learns about secrets in his past and trouble with money, and eventually comes to suspect he is plotting to kill her. In “Before the Fact,” Lina’s suspicions are entirely correct; Johnnie poisons her and she goes to her death willingly because despite his flaws, she loves her husband. But because Johnnie was played in “Suspicion” by Grant, who the studio believed the audience could never accept as a murderer, the film’s ending — and its entire meaning — was changed. Instead of Johnnie trying to kill Lina, he’s actually trying to kill himself. It’s an absurd reversal, but it’s one that actually plays to Hitchcock’s strengths; it turns a novel about love in dark extremes into a film about a wrongfully accused man and a paranoid leading lady, two of Hitchcock’s most popular themes.

Watch more about the end of “Suspicion” in this making-of documentary:


“The Last Laugh” (1924)
Directed by F.W. Murnau

There is just one intertitle in all 101 silent minutes of F.W. Murnau’s “The Last Laugh.” It is placed shortly before the end of the film, according to Roger Ebert, “almost as an apology,” because the title marks the moment when the films slips from Murnau’s control. Apparently the German studio UFA demanded Murnau’s tragic tale of an old man (Emil Jannings) who loses his beloved job as a hotel doorman conclude happily to improve its box office potential. Murnau obliged, in a fashion; he gave his doorman a happy ending, but chose one so absurdly upbeat that it became what Alyssa Katz describes as “a grotesque parody of a happy ending.” And he gave the audience a taste of his displeasure with that one intertitle, which reads: “Here the story should really end, for, in real life, the forlorn old man would have little to look forward to but death. The author took pity on him and has provided a quite improbable epilogue.”

The infamous intertitle, and the “Wayne’s World”-ready mega happy ending, can be found starting at 12:09 of this embedded clip.


“Brazil” (1985)
Directed by Terry Gilliam

Yes, Terry Gilliam directed “Brazil,” but he almost didn’t choose its ending. The film was distributed by Universal Pictures, and the studio’s chairman at the time, Sid Sheinberg, so disliked Gilliam’s preferred finale (in which the hero Sam’s mind is destroyed by the totalitarian regime he’s been struggling against) and ordered the film recut. His so-called “Love Conquers All” version took a portion of Gilliam’s ending — — Sam flees from the city to a beautiful countryside which is actually a figment of his catatonic imagination — and removed the framing scenes that revealed that Sam’s escape was all an illusion. As Sheinberg had it, Sam didn’t dream of freedom, he actually found it. Fortunately, Gilliam was able to leak his cut to the press, and the Los Angeles Film Critics Association gave this “Brazil” their Best Picture award of 1985. Rising critical sentiment finally convinced Sheinberg to release a modified (but Gilliam approved) 132 minute version. For once, love didn’t conquer all.

Excerpts from Sheinberg’s “Love Conquers All” ending. You can also find comparison stills of the various editions here:


“The Magnificent Ambersons” (1942)
Directed by Orson Welles

Fittingly for a movie about a young man who finally gets his comeuppance, “The Magnificent Ambersons” was the place where boy genius writer/director Orson Welles’ luck ran out. He lost his right to final cut after “Citizen Kane” and then he lost his follow-up film altogether. According to editor Robert Wise, audiences in 1942 were too concerned with World War II to care about a story of a wealthy family’s gradual fall from grace. So with Welles out of the country and unavailable for reshoots and edits, Wise himself oversaw the removal of several dozen minutes of footage and the shooting of an entirely new, far more upbeat denouement (for a full accounting of the changes, read the “Ambersons” page on Filmsite.org). The young man, George (Tim Holt), gets his comeuppance and then a manufactured happy ending. Welles got a manufactured happy ending and, whether deserved or not, a big dose of comeuppance of his own. It would not be the last in a career marked by struggle and studio intervention.

“Ambersons”‘ original ending is considered lost along with the rest of the deleted scenes from Welles’ cut. You can see Wise talk about his work on the film at TCM.com.


“Little Shop of Horrors” (1986)
Directed by Frank Oz

“It’s pretty dark, in a nightmarish way,” says “Little Shop of Horrors” director Frank Oz on the commentary track to his film’s original ending. Brother, he ain’t kidding. Oz’s adaptation of an off-Broadway musical initially maintained the play’s bummer of a finale: greedy Seymour Krelborn (Rick Moranis) and his girlfriend Audrey (Ellen Greene) are eaten by the flower shop’s star plant (really an evil alien from outer space), who continues to grow into an enormous monster and then takes over the world. The off-kilter wrap-up may have played well off-Broadway but when “Little Shop” was tested for preview audiences, Oz says they “just hated” the fact that they killed the adorable and charming Greene, and that in turn killed all the film’s momentum before the big show-stopping final number. Oz reshot the ending so that Seymour triumphed over his extra-terrestrial foe and lived happily ever after with Audrey, a total 180 from the scripted conclusion. That meant scrapping a massive special effects sequence where the plant takes over the island of Manhattan; it also meant losing some of the story’s intended value as a cautionary tale. Suddenly Seymour was standing triumphant, with sweet understanding that off-Broadway plays can take chances that multimillion dollar films cannot.

Embedded below is the first part of the original ending, along with Oz’s commentary. To find the rest of the twenty minute sequence, go to YouTube.


What’s your pick for the most ridiculous studio mandated ending of all time? Tell us in the comments below or on Facebook and Twitter.

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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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Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

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Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.

via GIPHY

IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.

Jenn: I LOVE ISSA RAE!

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IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on IFC.com and the IFC app.

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G.I. Jeez

Stomach Bugs and Prom Dates

E.Coli High is in your gut and on IFC's Comedy Crib.

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Brothers-in-law Kevin Barker and Ben Miller have just made the mother of all Comedy Crib series, in the sense that their Comedy Crib series is a big deal and features a hot mom. Animated, funny, and full of horrible bacteria, the series juxtaposes timeless teen dilemmas and gut-busting GI infections to create a bite-sized narrative that’s both sketchy and captivating. The two sat down, possibly in the same house, to answer some questions for us about the series. Let’s dig in….

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IFC: How would you describe E.Coli High to a fancy network executive you just met in an elevator?

BEN: Hi ummm uhh hi ok well its like umm (gets really nervous and blows it)…

KB: It’s like the Super Bowl meets the Oscars.

IFC: How would you describe E.Coli High to a drunk friend of a friend you met in a bar?

BEN: Oh wow, she’s really cute isn’t she? I’d definitely blow that too.

KB: It’s a cartoon that is happening inside your stomach RIGHT NOW, that’s why you feel like you need to throw up.

IFC: What was the genesis of E.Coli High?

KB: I had the idea for years, and when Ben (my brother-in-law, who is a special needs teacher in Philly) began drawing hilarious comics, I recruited him to design characters, animate the series, and do some writing. I’m glad I did, because Ben rules!

BEN: Kevin told me about it in a park and I was like yeah that’s a pretty good idea, but I was just being nice. I thought it was dumb at the time.

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IFC: What makes going to proms and dating moms such timeless and oddly-relatable subject matter?

BEN: Since the dawn of time everyone has had at least one friend with a hot mom. It is physically impossible to not at least make a comment about that hot mom.

KB: Who among us hasn’t dated their friend’s mom and levitated tables at a prom?

IFC: Why do you think the world is ready for this series?

BEN: There’s a lot of content now. I don’t think anyone will even notice, but it’d be cool if they did.

KB: A show about talking food poisoning bacteria is basically the same as just watching the news these days TBH.

Watch E.Coli High below and discover more NYTVF selections from years past on IFC’s Comedy Crib.

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