Comparison between Criterion Collection's cut 2022 US Blu-ray and 20th Century Fox's uncut original cut (available in several countries, represented here by the German Blu-ray).

- 76 documented differences
- Cut duration: 102.6 sec (= 1:43 min)

A few additional mini-deviations, each less than 0.5 sec in duration, were not listed in the cut report.

With Miller's Crossing, directed in 1990, Joel and Ethan Coen already had a bigger star cast up their sleeve. The thriller, strongly influenced by film noir, received the small accolade of being given another U.S. Blu-ray on February 8, 2022 in the U.S. as a new title in the series of the Criterion Collection collector's label. Two disappointments awaited fans here, however. On the one hand, the 2K restoration overseen by cinematographer Barry Sonnenfeld and both Coen brothers offers no real added value compared to the Blu-ray that has been available since 2011. On the other hand, the film is presented here in a form heavily cut compared to the original version.

The Coen brothers already shortened their debut work Blood Simple somewhat back in their VHS days, and this version has long been the version in common use as the Director's Cut. Also for Miller's Crossing, a Criterion spokesman confirmed, unfortunately only AFTER corresponding inquiries from users on Blu-ray.com, that the changes were deliberately made by the directors: "I can confirm that the Coens made some minimal edits to the master for this director-approved release of MILLER'S CROSSING."

Fans were particularly struck by the scene about half an hour into the film, in which Mike Starr's character Frankie is hit with a chair by Gabriel Byrne's Tom, who comments in surprise, "Jesus, Tom!" Because this little gag is missing, users took notice - although a running time difference of almost 2 minutes could also make them wonder. In the further course there are a few more places where other parts of dialogue were removed as well.

Otherwise, you'll find quite a few mini-cuts throughout the film, almost all of which should hardly be noticeable during normal viewing. Mostly the end/beginning of shots have been tightened a bit. Sometimes there are still short movements in the face or the like to discover, which were probably a thorn in the eye of the Coens, for whatever reason. This was probably a subsequent fine-tuning of the pacing of the film and one can at least partly attest that the tightening in some places slightly improves the rhythm of the film.

Lastly, it was noticeable, at least in our detailed frame-by-frame comparison, that a few quick bits of violence were also caught in the crossfire. It would be wrong to speak of censorship here, and you shouldn't notice this during normal viewing. Nevertheless, a few short parts are missing now. All in all, a negative aftertaste prevails with this new apparent "Director's Cut" version, which no fan would have really expected.

Running time details are arranged according to the scheme
Criterion Collection Blu-ray / German Blu-ray

The Criterion Blu-ray still has a corresponding logo to start.

+ 11.9 sec

02:07 / 01:55-01:56

Johnny Caspar can be seen a moment earlier. He laughs a little more clearly here.

0.9 sec

19:26 / 19:15-19:16

Tom takes another step forward.
This little trim makes the pause between Leo's "Voted for him six times last May" and the reaction "And that ain't the record, either" a moment shorter.

0.7 sec

20:58 / 20:48

There are a few inconsequential frames missing as Tom comments: "You did start it. You and Verna."

0.5 sec


21:01 / 20:51-20:52

Dale talks a bit longer: "(We can dangle, Leo,) if you'd prefer."
The follow-up shot of Tom also starts a few frames earlier.

0.5 sec

21:37-21:39 / 21:28-21:31

After Tom leaves the room, a first shot of Leo saying "Goddamn it!" and banging on the table has been removed.
However, Criterion has brought forward the beginning of a shot of Leo that follows shortly thereafter as a replacement. Here, you hear a shorter comment: "Damn it!"
After the cut to O'Doole and the mayor, this moment of the shot also appears in the original version.

Original Cut 1.6 sec longer

22:15 / 22:07-22:08

Before Tom pushes open the door, bartender Tad is seen a brief moment longer.

0.7 sec

22:26 / 22:19

When Tom gets behind Verna, a few inconsequential frames are missing again during the transition of the shots.

0.5 sec



24:21 / 24:14-24:15

After Verna punches Tom in the face, she can be seen a few frames longer.

0.3 sec

24:24 / 24:18

Before Tom throws the glass at them, a few frames were also shortened.

0.5 sec

24:39 / 24:33-24:35

Verna moves away a bit earlier.

1.8 sec

24:45 / 24:41

Tom lingers a few inconsequential frames longer at the end of the scene.

0.5 sec



29:04 / 29:01

Eddie Dane can be seen a moment earlier. At the beginning, he is still looking forward, while Criterion only starts when his gaze is directed sideways towards Johnny.

0.8 sec

29:19 / 29:16-29:17

Johnny holds up his hands a little earlier, hoping that his son chooses the hand with the penny after all.

0.7 sec

About a minute later, another mini-deviation of 0.3 sec.


Alternative
31:37-31:40 / 31:35-31:39

Tom can be seen a few insignificant frames longer. Then the door is closed in alternate take.

Original Cut 1.1 sec longer

Criterion Collection	Theatrical Cut

31:45 / 31:44-31:46

The next shot (with the door closed by now) can be seen from this perspective in both versions - but now it begins a bit later in Criterion.

1.9 sec

32:08 / 32:09-32:10

As Frankie walks toward Tom, the shot starts a few frames early.

0.8 sec

32:28 / 32:30-32:32

After Tom hits Frankie with the chair, he says at the end of the shot: "Jesus, Tom!"

1.8 sec

32:36 / 32:40-32:44

Frankie moves outside the door a bit longer.

4.5 sec

32:54 / 33:03

As Tom takes a beating, a shot starts a few inconsequential frames early.

0.2 sec



33:01 / 33:10-33:11

Again, a few more basically totally unimportant frames with Tom on the ground.

0.9 sec

34:35 / 34:45-34:46

O'Doole can be seen a bit longer.

0.9 sec

35:34 / 35:45

Verna is seen a moment earlier before commenting on "Drop dead."

0.5 sec

35:36 / 35:47-35:48

The shot is a bit longer as well.

0.7 sec

A little more than a minute later: An irrelevant mini-deviation with a duration of 0.3 sec.



40:00 / 40:12

The shots under the bed start a handful of frames earlier.

0.3 sec

40:30 / 40:42-40:43

Leo can be seen shooting outside a few frames longer, and we also go back inside a bit earlier. This is how you see a first shot.

0.5 sec

40:41 / 40:54-40:55

Before the next cut to the lamp on the ceiling, the gangster is riddled with bullets for a little longer.
The following shot of the lamp also starts a few frames earlier.

0.7 sec

40:43 / 40:57

Another shot from behind starts a little earlier.

0.4 sec

41:49 / 42:03-42:06

At the end of the scene, Leo can be seen a bit longer. He takes another drag on the cigar here.

2.6 sec

45:40 / 45:57-45:58

Before Leo addresses Tom as "Tommy!" he is seen a moment earlier.

1 sec

47:10 / 47:28

Before Leo beats Tom a second time, a few insignificant frames are missing.

0.3 sec



47:20 / 47:38-47:39

Tom stays at the bottom of the stairs for a moment longer.

1 sec

47:22 / 47:41-47:42

In the following shot, Leo takes another step down the stairs.

1 sec

The rest of the scene loses a handful of insignificant frames several times.


47:57 / 48:18-48:19

When the woman pushes Tom away from her, the tracking shot around them starts earlier.

1 sec

47:59 / 48:21-48:23

While the new Criterion version only shows the first two blows with the handbag, the original version actually shows four more.
Perhaps this now seemed too comic-like for the Coens. At least the new version reduces the humor of the scene.

2.4 sec

Shortly after, another mini-trim under 0.5 sec.


Audio alteration
59:43 / 60:08

No editing for a change, but also a change in the new Criterion version: A part of Bernie's off-screen plea was muted. In both versions, he says "Look in your heart" here, though this has been slightly shifted on the soundtrack. However, another saying, now somewhat more tearful, of "I'm praying to you!" has been removed.

Note: At the next cut to Tom, however, both versions offer "I'm praying to you!"

Image for orientation

Audio alteration
59:58 / 60:23

As Tom is approached, another of the many "I'm praying to you!" exclamations has been removed.

Image for orientation

61:46 / 62:11-62:16

After the fade to black, the shot of the street begins much earlier.
Tom's phone call was also shifted a bit on the soundtrack (even above the identical footage afterwards). Mainly one can hear more incomprehensible babble from the person on the phone. Tom's comments have remained complete.

4.8 sec

61:54 / 62:24-62:26

The same shot is somewhat longer as well.

2.2 sec



63:22 / 63:54-63:55

When fading in to Johnny, a little trim was done. So the break between "When you're right, you're right." and "But..." turns out a bit shorter.

0.6 sec

64:01 / 64:34-64:36

After Johnny's "lousy son of a bitch" Tom is smoking his cigarette a bit earlier.

1.6 sec

64:56 / 65:30-65:31

Tom is seen a moment earlier before asking about Eddie Dane.

0.7 sec


65:23 / 65:58-65:59

Again, Tom smokes earlier at the beginning of a shot.

0.8 sec

In the subsequent shots, individual frames go MIA again.


66:06 / 66:42-66:43

A trivial trim after Johnny's slap in the face to his son.

0.5 sec


66:17 / 66:54-66:55

Tom is seen a little earlier.

0.7 sec

When Verna is visited at home, individual frames are also lost several times.


68:05 / 68:44-68:45

Eddie takes another step toward Verna.

1.1 sec

68:30 / 69:10

It takes a little longer for the other men to join them.

0.8 sec

When Eddie guns down the men, inconsequential frames (< 0.5 sec) were also suppressed in several shots.



68:43 / 69:24-69:28

The door with the guy who fell to the ground there can be seen a little longer. Then one shot is completely missing: another guy crawls on the ground towards his gun.

3.6 sec

68:44 / 69:29-69:30

The follow-up shot of the man is included, but shortened at the beginning. Criterion cuts in when Eddie steps on his hand with his foot.

1.4 sec

Alternative
72:41-72:46 / 73:27-73:37

After Bernie's "Of course you know about it", Criterion adds a reaction shot of Tom.
But actually you see Bernie longer in one cut and he is still commenting: "It's a painful memory and (I can't help remembering...)"

Original Cut 4.3 sec longer

Criterion Collection	Kinofassung

76:03 / 76:53-76:56

At the end of the shot, O'Doole is still looking at the glass that Tom has just put in his hand. The follow-up shot of the street also starts earlier.

2.9 sec

79:54 / 80:48-80:49

Eddie draws his gun a little early.

0.9 sec

80:09 / 81:04

Mini-cut, just before Tom is grabbed.

0.5 sec


80:13 / 81:08-81:09

Also shortly after, the transition of two settings was shortened.

1.5 sec



80:42-80:45 / 81:38-81:41

Criterion dims a bit earlier and the image stays black longer.

No running time difference

82:56 / 83:53-83:54

Before the police chief reaches for the megaphone, a few unimportant frames are missing.

0.9 sec


83:06 / 84:04-84:05

Another mini trim before the man comes out and surrenders.

0.8 sec


83:08 / 84:07-84:09

Once again shortly afterwards.

2 sec


84:34 / 85:34-85:35

Tom can be seen a bit earlier.

0.8 sec

Some further irrelevant frames (< 0.5 sec).


85:42 / 86:44-86:45

Mini-cut, just before Tom approaches the table.

0.5 sec

Two minutes later, another couple of inconsequential frames.


88:19 / 89:22-89:23

Two shots of Johnny insignificantly shortened.

1.1 sec

Some further mini-cuts shortly after, < 0.5 sec.


88:50 / 89:54-89:55

Tom and Johnny halt a bit longer.

0.6 sec


89:02 / 90:07-90:09

Another shot was trimmed in the beginning.

1.4 sec

90:31 / 91:38-91:39

After Tom put the washcloth on his forehead, we have yet another totally insignificant trim.

1.1 sec


90:44 / 91:52-91:53

Mini-trim before the blow in Tom's belly

0.8 sec

Another time shortly after (< 0.5 sec).


91:42 / 92:51-92:55

The man still says "Take care now" at the beginning of the shot, makes a movement with his hand and turns around.

4.2 sec

93:02 / 94:15-94:16

After the camera moves to the fat man, he briefly opens his eyes in the last frames of the shot.

0.3 sec

93:19 / 94:33-94:42

Before Tom gets the whistle, there is some dialogue.

Tom: "Is there a point, or are you just brushing up on your small talk?"
Eddie: "I like that. Cool under fire. I'm impressed."

9.1 sec

Shortly after that a few frames are lost again.


94:18 / 95:41-95:44

The long shot starts earlier, Johnny says something before the next shot.
From "You son of a bitch! Son of a bitch! You lousy son of a bitch!" only a single "son of a bitch" remains.

3.3 sec

The following tracking shot on Tom starts a handful of frames earlier.


Alternative
94:21-94:24 / 95:47-95:50

A shot of Leo was mirrored.

Criterion Collection	Theatrical Cut

94:24 / 95:50-95:56

The fat man screams in an additional close-up. After a cut to Tom, Leo says: "Shut up, you son of a bitch!"

6 sec

Alternative
94:25-94:26 / 95:57-95:58

Criterion now interrupts the shot of Leo approaching the fat man to reinsert the cut to Tom. So this shot is shortened in the middle.

No running time difference

Criterion Collection	Theatrical Cut

94:51 / 96:23-96:25

Leo and Tom are still looking at each other at the beginning of the shot and Leo raises his shovel again.

1.8 sec

94:52 / 96:26-96:27

The reaction shot to Eddie starts a little earlier.

0.9 sec

94:57 / 96:32-96:33

The long shot starts a bit earlier.

0.8 sec


95:01 / 96:37-96:38

The next change between shots, a few frames are missing again.

0.6 sec



95:03 / 96:40-96:41

Leo holds the gun to Eddie's head a moment longer.

1.1 sec

95:06 / 96:44

The last view of Leo starts a moment earlier.

0.5 sec

The last 15 minutes of the film then surprisingly go about without any further adjustments.