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original title: Gainsbourg (Vie héroïque)


  • International Theatrical Version
  • French Version
Release: Oct 06, 2012 - Author: Laughing Vampire - Translator: Tony Montana - external link: IMDB


Serge Gainsbourg was a French singer, actor, director and - what he almost stressed the most and always wanted to become again at some point - a painter. Born as Lucien Ginsburg in 1928, deceased in 1991, one month before his 63rd birthday, as "Gainsbarre". He also was Julien Grix for a while.

There's no doubt that this chain smoking Gainsbourg, whose name is probably less famous outside France but whose distinctive chansons have most likely heard by anyone, belonges to the most important French, if not the most European artists and musicans of the last century. In his 30-year-long career, he created a new world of music, released many record albums, cooperate with innumerable other musicans (mainly femals singers), revolutionized the pop music in the process, was always dissatisfied with himself, also directed movies, provoced the crowds with TV gigs and was the embodiment of the word "controversial". Everybody knows "Je T’Aime... Moi Non Plus", everybody knows "Lemon Incest" – but reducing him to that would be a big freaking mistake. Among more thean 200 songs he was responsable for, anyone's taste should be satisfied. But only under the condition that the French language isn't a big deal per se. Wouldn't hurt to speak a little French either. Classic chansons, 60s kitsch, sophisticated conceptional records, raggae, soundtracks, 80s trash, he did it all.

The Movie

The movie of comic artist Joann Sfar is a lovely hommage to his life which doesn't turn out to be a biography but kind of a fairy tale with symbolic and surrealistic scenes to represent Serge Gainsbourg's most important parts of life as episodes. There's an embodied alter ego, some in reality much longer processes are presented in quick motion, past and present merge all of a sudden...
But it always needs to be considered that most the things haven't just been made up. They're base on anecdotes of the actual Gainsbourg who just loved to stylize his life. And that was probably necessary because he hadn't have an easy life: due to his Jewish ancestors, he was chased by the nazis (his family and he didn't get caught thank God). Later on, he was still suffering because of his looks - he just wasn't a regular pretty boy - and was strongly depressive. In his last 20 years, he also became addicted to alcohol which broke him. In the movie, his transation is being represented by his cynical and decandent alter ego. At some point of the movie, he "breaks up" with his alter ego in a very self-confidental way. But he makes with it after some strokes of fate. So finally, they merge at the barbershop. Every fan knows why.

Illustration of Johann Sfar at the wall of Serge Gainsbourg's house on the Rue Verneuil in Paris (Picture taken by the author)

Éric Elmosnino plays the guy, who was always up for a scandal, in a time period of more than 20 years and he's doing very well. Further actors are Lucy Gordon ("Spiderman 3"; committe suicide soon after the movie had been shot) as Jane Birkin, Lætitia Casta ("Visage") as Brigitte Bardot, Doug Jones ("Pans Labyrinth") as "La Gueule", Mylène Jampanoï ("Martyrs") as Bambou and last but not least Kacey Mottet Klein as young Lucien. No need to complain about the cast whatsoever. The musical sets are amazing, no doubt, and the background music, often terrificly sung by the actors themselves, is a must-see for anyone who sympathizes with the man.

And yet, „Gainsbourg, vie héroïque“ isn't easy to watch or to like for many people. The movie is quite long, no matter what version. It doesn't tell a continous story, some episodes are only introduces without telling them till the end and other parts of his life aren't mentioned at all (which was clear from the beginning but it's still criticize by loads of fans). The style is quite unique and anything but mainstream as well. Long story short, the movie is quite edgy. As often, you either love it or hate; there's nothing in between. It's more than obvious that the director is a huge fan because the final result is esthetic and atmospheric. It's a typical European movie that isn't very different from Gainsbourg's actual work. Or is there anyone out there who really believes that Serge Gainsbourg was an easy-accessible artist?

The Versions

Compare are the International Theatrical Version (approx. 116 minutes), represented by the German DVD, and the French Original Version (approx. 130 minutes), represented by the French DVD (and a present DVD from the French-speaking Switzerland).

Besides the German DVD, the UK-DVD apparently contains the very same version and so does the US-DVD. That's why it's very likely that it's a so-called International Version.

Censorship wouldn't be the right word, the International Version is simply paced differently. A few missing frames here, a few missing seconds there, a removed dialog. Only in a very few cases, an entire scene has been removed. And even less often, there's slightly alternate footage; barely visible to the naked eye. As a result, a different master has to have been used. There's only scene that lacks footage longer than a minute. All in all, it sums up to more than 100 differences. Although there are some really unfortunate differences like a much longer sequence with Bois Vian or the analysis of the groupies, the International Version is still watchable. But if anyone speaks some French and gets the opportunity to watch the French Version, that chance should be taken.

By the way: the missing dialogs have been translated from French. No guarantee that the translations are 100% correct. My French isn't bad but the movie is full of mumbling and expressions. The French subs for the hearing impaired aren't always precise but they did help anyway.

German DVD (International Version): 1:55:57
French DVD (French Version): 2:09:38

Difference: 13 min 41 sec
Index: French Version (FV) / German Version (GV)

0:00:00 - 0:01:01 / 0:00:00 - 0:00:06
The logo displays/animations at the beginning are longer in the FV.

The German logo of the distributor:

0:01:29 - 0:01:39 / 0:00:34
Young Lucien (Serge’s real name; Kacey Mottet Klein) is standing longer alone at the beach. A couple walks by.
(10 sec.)

0:03:07 - 0:03:10 / 0:02:02 - 0:02:05
The FV displays the original title “Vie Héroïque”; interestingly, the GV displays the German theatrical title, not the DVD title (left FV, right GV).
(No running time difference)

0:04:36 - 0:05:31 / 0:03:31
Lucien stands up from the piano and reads a comic after his father has left through the door. His mother joins him.
She asks if the comic is exciting. Lucien responds that it’s about cowboys and he asks if he can buy a toy revolver. His mother isn’t very enthusiastic about this and says that war isn’t a game and that the soldiers are already in the streets. Lucien doesn’t think this fair and says that it’s not his problem that his country has a problem with Hitler - he wants her to buy him a toy gun and promises to play the piano afterwards again. But his mother doesn’t give in.
(55 sec.)

0:05:54 - 0:05:57 / 0:03:53
In the FV, the saleswoman keeps asking what he wants to do and Lucien answers: “Nothing, madam!”
(3 sec.)

0:07:33 - 0:07:34 / 0:05:30
A man walking in the corridor is shown slightly longer.
(1 sec.)

0:09:42 - 0:09:44 / 0:07:37
In the bed room: Lucien draws his picture a bit longer.
(2 sec.)

0:11:51 - 0:11:54 / 0:09:45
0:11:56 / 0:09:47 - 0:09:48

Lucien’s nightly piano playing was cut differently. In the FV, he plays everything in one go, then a cut to his father’s face. In the GV, the cut already comes up during the playing. In total, the FV runs again a little bit longer.
(1 sec.)

0:12:32 - 0:12:35 / 0:10:22
In the scene with the nude model in the art academy the camera pans shortly up in one shot to the drawing SS guy.
(3 sec.)

0:13:56 - 0:14:07 / 0:11:42
Lucien in the dressing room of the nude model: after he has asked her if she could take off the bra, she asks in the FV why she should listen to him. Lucien says that it took him a lot of courage and that no one is as shy as he is. The model sighs; finally someone who knows how to express himself, but he’s way too young.
(11 sec.)

0:14:12 - 0:14:22 / 0:11:47
The sound in the café is at first a little bit delayed in the GV, hence the following part where Lucien tells the model that he will always write her is completely missing. Sometimes Baudelaire, sometimes his own poems, she wouldn’t know the difference. She tells him to write something now, but he says no. After this, the dialogue also continues in the GV.
(10 sec.)

0:15:38 - 0:15:43 / 0:13:03
Madame Fréhel tells him jokingly not to touch her dog, because he’s dangerous.
(5 sec.)

0:17:29 - 0:17:35 / 0:14:49
The scene in the dormitory sets in a few seconds earlier.
(6 sec.)

0:18:59 - 0:19:01 / 0:16:13
The kids in the forest call for Lucien once more.
(2 sec.)

0:19:29 - 0:19:32 / 0:16:41
Lucien begins his answer to the question why he’s hiding in the forest if it’s not because of the nazis with: “Because of secret things”.
(3 sec.)

0:23:49 - 0:23:50/ 0:20:56
Lucien (Eric Elmosnino) is an adult now. He encounters Élisa (Deborah Grall) in a studio. Some frames were cut out at the end of this scene in the GV. Especially in the last shot Lucien looks a bit longer at Élisa.
(1 sec.)

0:24:52 - 0:25:17 / 0:21:58
In the bar: after he answered the question if this is a piece by him with “Aznavour”, he keeps singing.
(25 sec.)

0:26:17 - 0:26:19 / 0:22:58
Élisa says “oui”, “yes” in French.
(2 sec.)

0:26:21 - 0:26:22 / 0:23:00
One of the following shots begins slightly earlier.
(1 sec.)

0:26:42 - 0:26:45 / 0:23:20
Lucien longer describes Klimt‘s art.
(3 sec.)

0:28:01 - 0:28:02 / 0:24:36
A short flashback shot shows young Lucien also a bit longer in the FV.
(1 sec.)

0:28:02 - 0:28:06 / 0:24:36
The immediately following tracking shot was shortened a bit and so was the dialogue about pandas in the GV.
(4 sec.)

0:29:55 - 0:30:36 / 0:26:25
A longer cut: Élisa and Lucien talk longer in the bed after the appearance of Lucien‘s “Gueule” (his alter ego; Doug Jones). While Lucien worries about his “obsession“, Lisa tries to calm him with sex. She undresses him slowly and says that she’s pretty good at this.
(41 sec.)

0:34:44 - 0:34:46 / 0:30:33
Longer shot of Lucien’s face while his guitar teacher leaves.
(1 sec.)

0:35:12 - 0:35:20 / 0:30:59
Longer shot of Lucien, who sits in his studio at first. The GV sets in when he stands and is holding his guitar.
(8 sec.)

0:37:01 - 0:37:02 / 0:32:40
“Gueule” is shown earlier in the FV. Moreover, the audio track was put partly into the previous scene in the GV.
(1 sec.)

0:37:08 - 0:37:10 / 0:32:46
Longer shot of Lucien’s face, no dialogue.
(2 sec.)

0:37:35 - 0:37:43 / 0:33:10
Lucien has left Élisa. While he and “Gueule” frolic around in the park to “L’Hippopodame”(actually pretty mean if you understand the lyrics), Élisa is shown crying. This scene runs longer in the FV.
(8 sec.)

0:38:01 - 0:38:05 / 0:33:28
Here again in the last shot. The song is delayed in the GV and stops at an earlier point.
(4 sec.)

The following bar scene with the singing travesty artist was heavily re-cut and the song starts earlier in the FV. Moreover, the GV contains an alternative shot at this point which isn’t in the FV. The song is delayed again (in the GV it begins with “L’État ...”). There are also more language filters in the GV in order to illustrate the distance of the singer.

FF 0:38:05 - 0:38:07 / 0:33:28 - 0:33:2
The man in the first shot is shown for a few more frames; the difference is less than a second. Immediately afterwards a smoking man in the FV.
(1 sec.)

0:38:07 - 0:38:08 / 0:22:29
The second man in the FV.
(1 sec.)

0:38:08 / 0:33:29 - 0:22:32
Then, there’s the alternative shot in the GV (the corresponding part of the song comes up later in the FV).
(-3 sec.)

0:38:11 - 0:38:23 / 0:33:34
There’s more singing in the FV and also a shot of a woman. By the way, the second image shows the French version of the above-mentioned alternative shot.
(22 sec.)

0:38:24 - 0:38:25 / 0:33:35
There’s a shot of a man with a glass in the FV after the couple was shown in both versions. Thereafter, they run in sync again.
(1 sec.)

0:39:04 - 0:39:07 / 0:34:14
More footage for Boris Vian’s (great: Philippe Katerine) first appearance: he shakes hands with the singer, who thereupon adds that he’s a friend and that he recommended him, which leads to a continuity mistake in the GV, because there he also starts the gesture.
(3 sec.)

0:40:13 - 0:40:15 / 0:35:20 - 0:35:22
Again an alternative shot in the GV: while Lucien sings there’s a short cut to Vian and the above-mentioned singer (left FV, right GV).
(no running time difference)

0:40:37 - 0:41:47 / 0:35:44
The longest (and most pitiable) cut: Boris Vian and Lucien talk longer in the street. Vian adds to the question if Lucien doesn’t think that he lacks stage presence that he has to be a pretty bad dancer. Lucien responds that he never dances and also that he’s ugly. Thereupon Vian says that he isn’t ugly. He then lies down on the street and Lucien asks if he wants to be run over. He denies and says he just wants to get a taxi and now they are forced to stop. Lucien asks if he can join him and Vian responds that the street belongs to everybody. Lying on the street, Lucien tells of his “double”, which always follows him. Vian says that he knows this too; according to him it’s a werewolf and without him he would be nothing (a deleted scene on the French DVD tells more about this). They light a cigarette and Lucien adds that apparently every singer has something like that, which Vian corrects to “every poet”. A police car stops and two police men ask what they’re doing. Vian says that they are waiting for a taxi and Lucien adds that now they are here, they could bring them back.

It’s not clear why this scene was completely deleted, for later there’s a reference to it in the GV, too.
(70 sec.)

0:44:10 - 0:44:15 / 0:38:07
In the FV, Vian is shown longer leaving the room respectively the house.
(5 sec.)

0:45:39 - 0:45:57 / 0:39:30
The “Frères Jacques” want Lucien to keep singing “Le poinçonneur des Lilas”. Another verse follows. The sound in the GV was again partly put over the following shot.
(8 sec.)

Lucien Ginsburg has now adopted the stage name Serge Gainsbourg – so from now on he’s being called thus.

0:48:57 - 0:48:58 / 0:42:30
Serge’s father is shown running to his son with the fan mail slightly longer. Serge puts out his hand a few frames earlier in the FV.
(1 sec.)

0:49:02 - 0:49:04 / 0:42:34
Serge smiles in the FV as he’s looking at the letters.
(2 sec.)

0:49:05 - 0:49:06 / 0:42:36
Slightly longer sorting of the letters.
(1 sec.)

0:50:29 - 0:50:32 / 0:43:58
Short cut to the face of Serge’s father during dinner, while Serge says that there’s something the matter with his work.
(3 sec.)

0:50:44 - 0:50:44 / 0:44:09
Slightly longer shot of the father’s face before he asks who Juliette Gréco is.
(ca. 0.5 sec.)

0:50:57 - 0:51:00 / 0:44:22
Serge’s wife repeats his words.
(3 sec.)

0:52:41 - 0:52:43 / 0:46:03
In Gréco’s apartment: Serge walks longer towards the table with the drinks.
(2 sec.)

0:53:11 - 0:53:18 / 0:46:31
After Serge wanted to pick up the shards, he says in the FV that she might hurt herself because she’s barefooted. She responds that he’s the only one who’s hurt (he cut his finger).
(7 sec.)

0:53:23 - 0:53:41 / 0:46:37
The dialogue between Serge and Juliette goes on after she licked his finger. She asks if he wants to eat something; he says no and mumbles something about paintings. Gréco thereupon takes his rose and it’s clearly visible how nervous he is.
(18 sec.)

0:57:21 - 0:57:21 / 0:50:17
Serge’s wife looks into the camera minimally longer; the following shot begins a bit earlier.
(Ca. 0.5 sec.)

0:58:03 - 0:58:06 / 0:50:58
After a few unimportant frame cuts while leaving the apartment: Juliette Gréco stands longer at the window; the GV cuts earlier to the following scene, sound delay included.
(3 sec.)

0:58:13 - 0:58:15 / 0:51:05
Serge’s little daughter walks towards her father in the FV.
(2 sec.)

0:58:19 - 0:58:32 / 0:51:08 (- 0:51:09)
Immediately afterwards, his daughter speaks with him. She says that she can’t sleep either, because she constantly hears voices in her head. The GV contains a few minor frames at this point which the FV doesn’t have. Also, the “carry me in your arms” was put over this scene.
(13 sec.)

1:01:36 - 1:01:38 / 0:54:13
His “Gueule” looks longer at Serge. The following shot begins earlier.
(2 sec.)

1:02:02 - 1:02:07 / 0:54:37
Serge asks “Gueule” if she knew France Gall’s father.
(5 sec.)

1:05:23 - 1:05:26 / 0:57:54
The naked groupie dances longer to “Baby Pop” – the sound in the GV is again delayed.
(3 sec.)

1:05:30 - 1:05:35 / 0:57:58
And again. Serge makes joyful gestures.
(5 sec.)

1:05:37 - 1:05:44 / 0:58:00
A longer shot of the jumping groupie is missing completely. The cut already begins during the last frames of the previous shot.
(7 sec.)

1:05:44 / 0:58:00 - 0:58:00
In exchange, the GV contains a few more frames in the following shot.
(ca. 0.5 sec.)

1:05:48 - 1:06:17 / 0:58:04
The last shot runs a few frames longer in the FV. A longer sequence, in which “Gueule” bursts into the room where Serge is having fun in the bed with two groupies, is missing. She asks him to turn off the music and tells him of his business, for example of the success of “Poupée de cire, poupée de son”, with which Gainsbourg has won the Eurovision prize. Serge is unimpressed and only concerned with his fans. The doorbell rings and “Gueule” says that more “singers” are coming.
(29 sec.)

There are some differences at this point. As the groupies burst into the room, immediately following the previous cut, the sequence runs in slow motion (doubled frames) in the FV, while it runs in normal speed in the GV. Moreover, there’s an additional cut in the FV which the GV doesn’t contain, so alternative footage was used.

1:06:17 - 1:06:22 / 0:58:04 - 0:58:07
Same footage, but different speed in the two versions.
(ca. 3 sec.; no cuts)

1:06:22 - 1:06:23 / 0:58:07 - 0:58:08
Different shots: Serge kissing the girl is shown in a high-angle shot in the FV and it also runs in slow motion (left FV, right GV).
(no running time difference)

1:06:24 - 1:06:25 / 0:58:09
Afterwards comes a girl wearing glasses and also kisses him, still in the same shot in the GV. The FV also changes to this shot again and runs on in normal speed. Then, there are missing in the GV a few frames and a shot from above again in which a woman in yellow approaches Serge.
(1 sec.)

The following was completely re-cut in the GV. The GV goes over to a shot in which the girl with the glasses and Serge are shown from a little less distance. This shot comes up in the FV a little later. The next shot in the FV also follows in the GV. The shots of the FV are the basis for orientation here, not the actual order.

1:06:26 - 1:06:27 / 0:58:13
The woman in yellow kisses Serge a bit longer.
(1 sec.)

Serge dancing around with a cigarette is shown twice in the FV, in the GV only once. Slightly different footage. The FV sets in earlier; the GV ends later. There are no running time indications because those are just a few frames. The picture (from the GV) is only there for orientation.

Now, the girl with glasses is shown with Serge again. The (second) kiss, which has already been shown in the GV, now follows in the FV; the next scene follows in the GV. The sequence runs longer in the FV, but at first those shots are shown which have already been shown in the GV.

1:06:30 / 0:58:10 - 0:58:11
The shot of the kiss with the girl wearing glasses is longer in the GV.
(-1 sec.)

1:06:30 - 1:06:32 / 0:58:10 (resp. 0:58:11)
There’s a jump cut in the FV and the same shot is shown at a later point again. This isn’t contained in the GV.
(2 sec.)

1:06:32 / 0:58:11 - 0:58:11
The following shot in the FV sets in a few frames earlier in the GV.
(ca. 0.5 sec.)

1:06:33 - 1:07:15 / 0:58:15
Serge analyzes a few groupies off-screen, during which three of them are presented in stills.
About the one in yellow he says that she didn’t know how to kiss and that he had to teach her that the mouth is the most important sexual organ, despite its “non-genital” function.
About the turquoise one he says more poetically that she’s prude and that one gets the impression that she has never made any sexual experiences yet, which isn’t true.
He says about the violet one that she brought him to a great climax with her hair.
In connection to the last girl wearing black he says something about humiliating her and alcohol abuse.

(42 sec.)

1:14:24 - 1:14:26 / 1:05:23
Serge is shown a bit longer writing a song.
(2 sec.)

1:19:59 - 1:20:03 / 1:10:57
Little Lucien is shown longer in a flashback walking on the beach. The music is delayed again.

(4 sec.)

1:20:17 - 1:20:19 / 1:11:11
The hands are shown longer during dinner.
(2 sec.)

1:21:13 - 1:21:23 / 1:12:05
More dialogue between Serge and Jane Birkin (the already deceased Lucy Gordon).
They talk about his name and why she called him “Monsieur Bourguignon”.
(10 sec.)

1:22:23 - 1:22:25 / 1:13:05
Slightly longer scene transition in the FV.
(2 sec.)

1:22:41 - 1:22:47 / 1:13:20
Also a later scene transition in the FV; a short part of the dialogue was removed.
(6 sec.)

1:22:56 - 1:23:07 / 1:13:29
The sequence again runs longer in the FV and again there’s more dialogue in the following shot.
(11 sec.)

1:23:34 - 1:23:36 / 1:13:56
The following scene sets in earlier in the FV.
(2 sec.)

1:25:18 - 1:25:20 / 1:15:38
Serge is shown longer at the riverbank of the Seine.
(2 sec.)

1:27:02 - 1:27:04 / 1:17:20
The driver has a few more lines as he sees Serge playing with the loaded gun. He tells him worriedly that the gun can go off pretty easily. Due to this, the background music is delayed in the GV.
(2 sec.)

1:29:59 - 1:30:29 / 1:20:15
Serge and Jane longer sing “Le canari est sur le balcon”.
(30 sec.)

1:30:39 - 1:30:40 / 1:20:25
A bit more of the dog.
(1 sec.)

1:30:52 - 1:30:55 / 1:20:37
Jane sneaks up with her camera a little bit longer.
(3 sec.)

1:31:09 - 1:31:13 / 1:20:51
Additional shots of Jane taking photos.
(4 sec.)

1:31:28 - 1:31:34 / 1:21:06
Longer shot of Jane; after that, the following shot of her petting the dog begins earlier.
(6 sec.)

1:33:01 - 1:33:05 / 1:22:34
The scene transition takes longer in the FV. The following shot of the producer sets in earlier.
(4 sec.)

1:36:57 - 1:37:04 / 1:26:25
“La Gueule” sleeps longer on the roof and is shown waking up. In the GV, the audio track was delayed, so that the sounds of the awakening are heard while “Gueule” is still sleeping.
(7 sec.)

1:37:08 - 1:37:11 / 1:26:29
Again a longer shot, this time of Jane and little Charlotte from above.
(3 sec.)

1:37:11 / 1:26:29 - 1:26:33
Now the awakening “Gueule” is shown in the GV.
(-4 sec.)

1:37:18 - 1:37:18 / 1:26:40
Charlotte is shown slightly longer.
(ca. 0.5 sec.)

1:37:48 - 1:37:58 / 1:27:09
Serge, who just had a heart attack, insists longer on his blanket. He tells the guys to hurry up; and there’s a sound delay.
(10 sec.)

1:39:22 - 1:39:23 / 1:28:33
A shot of Serge lying in a hospital bed begins earlier in the FV.
(1 sec.)

1:39:29 - 1:39:35 / 1:28:39
Longer shot of “Gueule”, who knocks on the window, which causes Serge to wake up in the following shot. The knocking is already heard during the previous tracking shot in the GV.
(6 sec.)

1:39:37 / 1:28:41 - 1:28:44
1:39:37 - 1:39:40

Alternative footage in the GV: the shot of Serge runs longer; it is shown how he lies down again, while there’s a cut to “Gueule” in the FV (left FV, right GV).
(no running time difference)

1:40:03 - 1:40:04 / 1:29:07
A shot of “Gueule” and Serge smoking Gitanes cigarettes in the hospital room sets in earlier in the FV.
(1 sec.)

1:40:21 - 1:40:23 / 1:29:24
Longer shot of Serge getting photographed in his bed.
(2 sec.)

1:40:30 - 1:40:34 / 1:29:32
And again. He lights the cigarette. After that, the clapping parents are already shown before the curtain is lifted. This shot also sets in a few frames earlier.
(4 sec.)

1:45:43 - 1:45:49 / 1:34:41
Serge’s transformation to “Gainsbarre” (the drinker and provocateur in the denim jacket) is displayed here symbolically. He enters the barber shop with a cabbage (a hint to his concept album “L’Homme à tête de chou”, of which an instrumental version of the song “Flash Forward” is playing in the background) – a little bit longer in the FV, the following shot too. The sound is delayed yet again.
(6 sec.)

1:45:57 - 1:46:01 / 1:34:49
Longer “cutting”. The following shot sets in a few frames earlier again.
(4 sec.)

1:46:08 - 1:46:16 / 1:34:56
Serge, now unified with “Gueule”, is shown longer. He asks the hairdresser what she has done. She answers that he would see it clearer now. The following shot, where the GV sets in again, begins a few frames earlier.
(8 sec.)

1:46:53 - 1:46:55 / 1:35:32
Again a shot that begins earlier in the FV.
(2 sec.)

...and stops earlier in the GV. It is clearly visible here that the picture frame in the GV is slightly different (left FV, right GV):

1:47:06 - 1:47:24 / 1:35:44
And here, which is still missing (the sound is delayed again); also the beginning of the next scene, which shows the kids longer while crafting.
(18 sec.)

The picture frame is different again at this point:

1:47:34 - 1:47:37 / 1:35:54
The drunken Serge staggers longer towards the kids. The picture frame is now almost identical again.
(3 sec.)

1:48:46 - 1:48:48 / 1:37:04
Additional shot of a rotating object in the FV.
(1.5 sec.)

1:49:44 - 1:49:46 / 1:38:00
Longer scene beginning: Serge in Jamaica.
(2 sec.)

1:51:06 - 1:51:07 / 1:39:20
Again a slightly longer scene beginning after the funny sequence with the Jamaican kids.
(1 sec.)

1:51:14 - 1:51:18 / 1:39:27
And again the shot runs longer.
(4 sec.)

1:53:30 - 1:53:51 / 1:41:40
The song “Aux armes et cætera” was re-cut at a certain point. In the FV, Serge keeps singing the song; in the GV, the music also goes on, but later scenes are already shown during the mixing of the music. The same transition follows live in the FV - recording too, but at a later point. Moreover, there’s an additional sound filter, which makes clear that Serge isn’t singing anymore. In short: The FV contains more reggae.
(21 sec.)

1:54:12 - 1:54:15 / 1:42:01
Longer shot of two women. Afterwards, a short shot of another dancing woman is missing in the GV.
(3 sec.)

1:54:17 - 1:54:20 / 1:42:03
A shot at the mixing console begins earlier.
(3 sec.)

1:54:33 - 1:54:47 / 1:42:17
The GV immediately shows the people bursting in, while the FV shows Serge having a drink in his dressing room.
(14 sec.)

1:54:51 - 1:54:53 / 1:42:20
It is shown earlier how Serge tries to fight his way through the crowd.
(2 sec.)

1:54:56 - 1:54:58 / 1:42:23
More pushing and shoving plus flashlights.
(2 sec.)

1:57:05 - 1:57:24 / 1:44:30
After Serge has sung the Marseillaise and done the fight gesture, little Lucien is already shown in the GV doing the same gesture. But the scene goes on in the FV. Serge has finished and wants to leave, when he suddenly hears the voice of his younger self and he turns around again. Now Lucien sings a part of the Marseillaise on the stage (of course symbolically) before he makes the gesture.
(19 sec.)

1:57:25 / 1:44:31 - 1:44:36
The grown-up Serge is again shown in the GV, which could already be seen earlier in the FV. Nevertheless, the shot in which Serge wants to leave (which he then really does in the GV) stops earlier.
(-5 sec.)

The two versions are identical again at...
1:57:25 / 1:44:36

1:57:27 / 1:44:38 - 1:44:39
1:57:29 - 1:57:29 / 1:44:41

The red hats are displayed now in the GV, which comes up in the FV at a later point.
(no running time difference)

1:58:27 - 1:58:39 / 1:45:39
An additional shot of Serge in his room after he has read a newspaper article.
(12 sec.)

1:58:39 - 1:58:41 / 1:45:41
1:58:41 / 1:45:39 - 1:45:41

The immediately following scene in the bar sets in earlier whereby the GV contains some alternative footage. In the FF, Serge downs a drink in a close-up, while the GV already shows the shot that follows in the FV (left FV, right GV).
(no running time difference)

1:59:02 - 1:59:09 / 1:46:02
A group of 80s people talk longer to Serge. The man claims to have seen him in “Guignols”. After that, he imitates “Gainsbarre’s” way of speaking. In the GV, he just gets accosted and the shot changes.
(7 sec.)

1:59:19 / 1:46:12 - 1:46:16
A shot sets in earlier in the GV: Serge notices a dancer, Bambou (Mylène Jampanoï), who later turns out to be his last partner. The music (“Love on the Beat”) varies in terms of timing in both versions.
(-4 sec.)

1:59:19 - 1:59:23 / 1:46:17
The same shot runs longer in the FV; the following sets in earlier again.
(4 sec.)

2:00:02 - 2:02:04 / 1:46:56
Bambou dancing is shown longer.
(2 sec.)

2:01:45 - 2:01:50 / 1:48:37
She says in the FV that she liked it better when he offered her to be her “little daddy”.
(5 sec.)

2:01:54 / 1:48:40 - 1:48:44
The GV contains more caresses for Bambou; at least one shot with Mylène runs longer.
(4 sec.)

2:01:57 - 2:02:02 / 1:48:47
In exchange, the auctioneer has a few more lines in the FV as he describes the manuscript of the Marseillaise, which Serge wants to buy. The reading of the dates is missing in the GV. Then, a pan to Serge follows.

Side note: there can be found videos of the real events, for people who want to compare them to the movie, e.g.:
(5 sec.)

2:02:04 - 2:02:10 / 1:48:49
There was again cut out a part of the auction in the GV. It cuts away during a camera pan, while the FV pans back to the auctioneer, who gives further information (on a portrait in the manuscript). The GV sets in again with “We begin with…”.
(6 sec.)

2:02:12 - 2:02:15 / 1:48:52
Another part of the auction was removed; the GV lacks the bids of 50.000 and 53.000 francs.
(3 sec.)

2:02:43 - 2:02:45 / 1:49:19
Longer shot of Serge leaving the auction room.
(2 sec.)

2:04:11 - 2:04:28 / 1:50:46
Shortly before the end credits, there are two more inserts in the FV: “Gainsbarre” stands in the bar and smokes his cigarette; then young Lucien and the nude model are shown on the beach. The GV only shows the close-up of Serge’s face, which also follows in the FV, and who smiles subtly after he blew out the smoke. The song in the background (“Valse de Melody”) also stops earlier.
(17 sec.)

By the way, the credits are identical in both versions.
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