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Caption This! - Vicki's Arrival-Burke's Revenge-Matthew Morgan-Introducing Josette / Re: Episode #0057
« on: November 24, 2023, 11:26:10 PM »
Good One!!
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And also keep in mind with regard to Scene 85 in the 97 (and 129) minute film, Darren Gross posted on his Restoration Web site -QuoteA brief summary of all the scenes missing from the 93.5 minute version which were present in the 97 minute prints follows.
...
2) In Quentin's flashback in the tower, Charles and Angelique's kiss is more explicit. Angelique throws her head back and laughs mockingly as Charles kisses her neck and the unseen Gabriel hammers angrily at the door. GABRIEL: I know she's in there now open the door !(this is also present in the short version, but I have retained it to give the next line context) CHARLES: For more of your dreary moralizing ? You try my patient brother. GABRIEL(pounding, furious): For the last time - open the door !
...
- and -Backtracking even further back to Scene 85, I've "recreated" Angelique and Charles in the Tower room and Gabriel interrupting them using audio from the reel-to-reel tape of the 97 minute release version of the sequence along with screen caps to fill in for where the missing footage of Charles and Angelique's more explicit making out would be. Again, it's not perfect, but I'm happy with it.
First up. as per the Laser Disc, this is what the 94 minute version of the film should be like:
But this is what the DVD/Blu-ray release is like:
And here it is with the full audio from the 97 minute version of the film, featuring more banging, a last giggle from Angelique, and an additional line from Gabriel (sadly, you can't hear the more explicit footage of Charles and Angelique making out ):
(ADMIN: Edited to add Laser video)
...
Picking up Scene 85 where we left off, after Gabriel pounds on the door and asks to see Angelique:
They smile at each other but don't answer.
GABRIEL (O.S.)
I know she's in there. Now open
the door.
Finally, Charles decides to answer.
CHARLES
For more of your dreary moralizing?
You try my patience, brother.
GABRIEL (O.S.)
For the last time! Open the door!
And that's when today's quote -Page 35A/Scene 85 - Angelique: 'Let him in.'
- comes up and is also delivered exactly that way in the film.
And as far as any differences in the dialogue go, well, that all depends on which version of NoDS one is watching. If it's the 129 recovered version or the 97 minute R-rated version that was mistakenly released in August of 1971, all of it is delivered exactly as written. If it's the version available online via Amazon and iTunes and possibly other places, or on DVD and Blu-ray, it's all but Gabriel's "For the last time! Open the door!" (though even though much of the dialogue is there, the accompanying correct footage that coincides with it is not). And if it's the 94 minute version available on VHS and which played in most areas of the country in 1971, then Charles' "For more of your dreary moralizing? You try my patience, brother" and Gabriel's "For the last time! Open the door!" are missing.
And as far as the differences in the descriptions and directions go, Charles and Angelique do a lot more than smile at each other while they don't answer. Actually quite a bit more, depending on the version of the film one sees. But here we're working with the 94 minute version, so all we see in it is Charles and Angelique kiss before he gets up and Angelique tells him to let Gabriel in. And I do have to say that that chaste version of what goes on between Charles and Angelique always strikes me as funny because all it looks like Charles does is pick a piece of lint from Angelique's cleavage - but if you've never seen what actually takes place in the longer versions, you might be quite surprised when you do see it! Though keep in mind that it's '70s' R-rated, not X-rated.
Judith, wearing a lovely green velvet dress, tends to her mail. She asks Beth into the drawing room and hands her a letter terminating her employment at Collinwood, plus two weeks' severance pay--you can thank Edward for the latter; says Judith, frankly, I was against it. Beth timidly asks, why am I being fired? Judith gives her a look and says, with Jenny gone, your services are no longer needed. Beth, shocked at this abrupt dismissal, doesn't know what to say. Judith doesn't understand why--you were only kept on to care for Jenny. What about the children? asks Beth. They'll stay in Collinsport with Mrs. Fillmore, replies Judith. They could be brought back here, with Jenny gone, suggests Beth eagerly. No, says Judith, not very practical, and how to explain two infant children suddenly arriving at the house? Tell the truth, says Beth, that the children belong to Quentin and Jenny. Impossible, says Judith sternly, Quentin must never know about the children. I never understood why you and Mr. Edward decided to do that, says Beth--it seems to me Quentin should know about the children. Judith notes, you seem very concerned about Quentin lately. What is that supposed to mean? asks Beth. That your infatuation for my brother hasn't gone unnoticed, says Judith--the servants have been gossiping about it for a month. Is that the real reason for my dismissal? asks Beth. The reason for your dismissal is stated in the letter, says Judith cruelly, sending Beth scuttling away.
I like today's photo. I know you can't see "anything" but as you know, I have a vivid imagination.
winking,
G.
I just knew someone was going to remark on today's capture.
But at least one good thing about the VHS/Laser version of the film is that Charles' head doesn't get cut off:
DVD/Blu-ray:
VHS/Laser:
(ADMIN: Edited for better comparison and to add a Laser capture)
The way Scene 85 actually begins in the film isn't with the transition in Scene 84 from Quentin's view of the unfinished painting to a view of it in 1810 because, like several other instances of the subconscious memory scenes, things actually cut to a close-up of Quentin -
- staring and blinking his eyes, and from there they go to the subconscious memory of the painting in 1810 -
- and from there the camera doesn't rack focus to the background where Angelique and Charles are embracing because the camera actually slowly pans from the painting to them, by first showing their reflections in a mirror as they make out, all kisses and moans -
- and then the couple themselves as they become -
- a mass of entwined body parts.
And whereas the 18th's slideshow's quote -Page 35/Scene 85 - Angelique: 'You must finish it because when you do, you will give me the most marvelous gift of all -'
- comes from DC's version of the script, what actually happens in the film is Angelique declares (with regard to Laura) -
Angelique: 'As long as she's here in this house, I can't be
happy.'
- which is most certainly strongly implied in the rewrite in DC's script, but isn't said outright as such. And rather than the 19th's slideshow's quote -Page 35/Scene 85 - Angelique: 'We are in each other's souls, Charles. We can't escape it.'
- which also comes from DC's version of the script, though from a much later point in the scene, what actually happens in the film right after Angelique's remark (with regard to Laura) is that Angelique then asks Charles -
Angelique: 'Bring the painting to life, Charles. Please -
promise me.'
- which is a reworked version of something that was added by DC to his script near the end of the rewrite - though without being within the context of everything that was dropped from the rewrite, neither of Angelique's lines in the film take on the sinister tone they would have otherwise had had the majority of the rewrite been included in the film.
But after the rewritten section, things in Scene 85 return to basically what is written in both Grayson's and DC's scripts, and that's that after the pounding on the door is heard, it's followed in the script by:
(Revised 3/31/71)
85 CONTD CONTD 85
And that's when today's quote -Page 35A/Scene 85 - Gabriel (O.S.): 'Charles, I want to talk to my wife.'
- comes up and is delivered exactly that way in the film.
Here's the fifth as well as one of the rare stills to preview Scene 85:
(Click here for a 1400X1124 version)
This sixth still to preview Scene 85 has taught me a lesson I never really knew.
(Click here for a 898X593 version)
Perhaps naively, I assumed that a still shot in color was printed in color and obviously those shot in B&W were printed in B&W. However, apparently the above still was shot in color but that version of it was simply printed in B&W because a cropped color version was published on page 69 of the DS Companion -
- and a different cropped color version was used as part of the NoDS section of the gatefold of the hoDS/NoDS laserdisk -
(Click here for a 1000X572 version)
(And how interesting is it that 3 of the 7 NoDS stills used are from scenes that aren't even in the film?!)
(ADMIN: Edited to add a better version of the gatefold stills)
What a pity, says Samantha, I've undone all your pre-conceived notions--she tells Hortense she wants to see her immediately in the drawing room, then says to Gabriel that they finally have something in common, don't they?--they're both destined to rot in this house! She goes into the drawing room and closes the double doors, then asks Hortense where Tad is. Upstairs in his room, reveals Hortense. Samantha tells her she's going to be leaving Collinwood. This shocks Hortense, who reminds her she just told Mr. Gabriel... I told Mr. Gabriel what I wanted him to hear, says Samantha--I'm going and taking Tad with me--I want you to go and pack his clothes--do it secretly, do you understand? You mean you're taking the boy without Mr. Quentin knowing about it? asks Hortense. That's exactly what I mean, says Samantha, tonight, at seven o'clock, I want you to go to Tad and tell him I'll be at Rose Cottage, and I will go there sooner and wait for you to bring him to me. Hortense objects--suppose she gets caught? Samantha assures her she has always been very kind to her. No one has been as good to me as you, agrees Hortense. Then please stop worrying, says Samantha, and do as I say. Gabriel is listening closely outside the doors as Samantha orders Hortense to bring her to her as soon as it gets dark.
And if this fourth still looks familiar -
(Click here for a 1400X1098 version)
- that might be because it was used as inspiration for both versions of NoDS' A poster:
It's interesting, though, that Angelique's arm is on the outside of Charles' arm in the poster's artwork, yet it's on the inside of his arm in the actual still. It's also interesting that Angelique is semi-transparent for the color version of the poster, implying she's a ghost, yet she's human in the actual still and doesn't appear transparent in the B&W version of the poster...