As for the new DVD, the Director’s Cut, put out by New Line, and how it compares with the theatrical version released on DVD a decade ago? Well, first, let me recap the earlier DVD’s features and compare them with the new one’s. The earlier version came with a double-sided DVD for full- and widescreen versions of the film. It had two audio commentaries by Alex Proyas and crew, and by Roger Ebert, filmographies of the cast and crew, a written comparison to the aforementioned Metropolis, an interactive video game called Find Shell Beach, and the theatrical trailer. All in all, considering it came out a decade ago, it was a good package, and needed no updating if the film had not been recut.
The new DVD has only the Director’s Cut. Some reviews claim it has both versions, but if it has the original version it’s a well hidden Easter Egg. This version has a film introduction by Alex Proyas; "Memories Of Shell Beach," a making of featurette; "Architecture Of Dreams," a featurette wherein several people discuss aspects of the film, from psychology to sociology to cinematic influence, and again the influence of Edward Hopper’s paintings is cited. Comic book writer Neil Gaiman reviews the film, there is the theatrical trailer, and there are now three commentaries. The Proyas and Ebert commentaries seem to be updated for the Director’s Cut. Much of it seems to be the same, save with inserted comments of the newer version.
The third track features writers Lem Dobbs, David Goyer, and cinematographer Dariusz Wolski, and others. Like the other two tracks, most of this seems culled from the original parts of the commentary a decade ago, with additions made — likely stuff left out then. Dobbs is the most outspoken of the trio, in regards to Hollywood’s flaws and active degradation of the cinematic arts, and it is especially cogent when he exudes disdain for the idea that Tom Cruise wanted to play the film’s lead at one point. He also extols the virtues of the script in films, as the end all and be all that makes or breaks a film — a point echoed, most famously, by screenwriter and director John Huston. Dobbs also relates how he wrote the character of Mr. Hand with Murdoch’s faux memories and why he thinks Jennifer Connelly was too young for the role she got.
One thing not commented on in most reviews is the acting in the film. Unlike Dobbs, I think Connelly did well with her intentionally vaguely drawn character. The two lead Strangers, Mr. Book and Mr. Hand, are well acted by Richardson and O’Brien, especially given the restrictions their characters have. Richardson, especially, shows a reserve of megalomania and, unlike O’Brien’s character, does not have the injection of human emotion to balance his performance. Kiefer Sutherland takes an easily parodic role and makes it work with little subtleties in his performance — the most noteworthy is that Dr. Schreber never uses contractions in the film. But the film is really dominated by Rufus Sewell’s performance. A stage actor of repute, with a few film roles before this, he is so good that it is hard to imagine another actor in the role. His relative anonymity helps, but compare his role to similar roles in films like Cube or The Thirteenth Floor, and the superiority of the screenplay and acting is manifest.
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