"Cop Land" comes with a cast of stars one does not always meet in a movie. All the more it is surprising that this movie is still relatively unknown. Sylvester Stallone, Robert De Niro, Harvey Keitel, Ray Liotta and Robert Patrick are the main actors in this interesting, but not very exciting mix of drama and cop show. All the more it is pleasant that the director´s cut for the most part contains scenes with these actors and not just longer tracking shots et cetera.
Although these scenes do not offer any surprises, the director´s cut still makes a much better impression. The new scenes make the plot more logical. However, the strong point of new material are mostly the new dialogues. - They really make listening fun, for example the scenes at 0:15:28, 0:16:445 and 0:45.11.
The only downer is the removal of a longer scene in the DC. Otherwise the director´s cut is the preferable version.
Disregarding alternative footage, it sums up to:
- With additional 17 scenes the runtime of the director´s cut is 13 Min. 36 Sec. longer than the theatrical version.
- The theatrical version includes 11 scenes with a runtime of
2 Min. 25 Sec. the director´s cut misses.
Scenes, which appear in both versions but at different places, are not listed.
The comparison is between the Director´s Cut and the Theatrical Version.
As Freddy (Sylvester Stallone) appears for the first time (right at the beginning when he plays pinball), only in the theatrical version we hear Robert De Niro´s voice: "They made a small town cop their sheriff. A wanna-be-cop, you flunked the admissions test because of his hearing injury."
Strangely, this part of De Niro´s opening monologue is not contained in the Director´s Cut (DC). Besides, in the theatrical version the shot of Stallone is longer.
1,5 Sec. im DC
The DC misses a brief shot of Freddy playing pinball.
2 Sec. in the DC
A shot of Freddy is longer in the theatrical version.
0,5 Sec. in the DC
The opening scene at the bar runs briefly longer in the DC. The woman from the explosives department is apparently irritated of Freddy looking over at them. She says something unfriendly to him which he doesn´t understand and he makes an appropriate gesture. She repeats her remark more loudly. Freddy apologizes. His friend (Ray Liotta) calms down the woman, telling her that this is Freddy, that he has a bad ear but is otherwise cool.
Because of the extended scene in the DC (see cut before), some shots from the theatrical version were not included into the DC for continuity reasons. Here Stallone is shown from a different view, noticing that the pinball game is lost. The following shot of the "Game Over"- and the "Insert Coin"-writing are also longer in the theatrical version.
Totally, the theatrical versions shows 5 Sec. of footage, the DC misses.
The dialogue between Freddy and Ray Liotta, who just tries to call someone from the bar´s telephone, is longer in the DC. In between Freddy asks the owner of the bar for some change but she does not have any money. She tells Liotta that it´s Freddy´s birthday, thereupon he wants to give him some change and rummages in his pocket.
When Freddy starts to explain that it is no big deal, someone answers Liotta´s call. The latter is also contained in the theatrical version.
Because of the extended scene the opening shot of Freddy approaching Liotta on the phone, is briefly short than in the theatrical version.
The morning after Freddy´s car accident, when he is at home, the beginning of the scene is extended in the DC. Here he still lies in bed. His alarm clock rings until Freddy switches it off. As he turns in bed, his big belly is visible (Stallone put on 12 kg for this movie). He sits down and looks at his battered face in the mirror.
Then a cut to some flyers of the police with job advertisements. Freddy, sitting depressed at the kitchen table, puts out a cigarette when a colleague arrives. He brings some of his stuff and sets the table for him.
Because of the new scene (see previous paragraph) the DC misses a small part when Freddy´s colleague puts a bowl and a spoon on his table.4 Sec. in the DC
After the black man was interrogated by De Niro, the scene continues in the DC:
De Niro goes through the building of the police station. The black man, who previously on the bridge expressed his doubts that there was a weapon in the car of the black people, wants to talk to him but De Niro declines and enters his office. In front of the door one of his colleagues calls out to him that they found one of Superboys shoes. Obviously De Niro thinks it is a farce and enters his office. He gets excited there ("Fucking shoe!"). Then a collegue comes into the office and they both talk about the case.
A shop is briefly longer shown.
The conversation between Robert Patrick, Harvey Keitel (Ray) and Stallone is briefly longer in the DC. Besides, in the theatrical version one cannot even see that Stallone sits at their table, too.
Ray says that Freddy would be his man ("Freddy´s my man.") Then he adds that Freddy works on the wrong side of the river. But Freddy says this doesn´t mean he can´t be trusted. Ray answers that he indeed trusts him and gives some examples tongue-in-cheek. Then Ray gets serious and says that he trusts him, but maybe not completely.
However, he would trust him with his home and his family, which means everything to him ("...maybe I don´t trust you with everything, but I trust you with my home and my family and, to me, that´s everything.")
Because of the new scene the DC misses a brief shot of Ray.
In the DC Freddy rummages throug the illegaly dumped garbage bag and
finds a telephone bill.
Two new scenes:
At the funeral of putatively dead Superboy, Freddy stands in the street controlling traffic.
(change of scene)
Figgis (Ray Liotta) lies around at the sheriff´s department. When the phone rings, he gets up and answers the call. Some complains about reporters who park on his property. Figgis tells the person to tell the reporters that they just can´t park everywhere because they´re reporters.
60 Sec. total
The dialogue between De Niro (Moe) and Freddy at the sheriff´s department is considerably longer in the DC. Partly it is also included in the theatrical version previously in the off while Figgis looks at De Niros black colleague. But all this is so muted that it makes much more sense being integrated in the (visible) conversation.
Moe tells Freddy that he sees many cops going south and that he doesn´t like this. He doesn´t like that because a corrupt cop
infects other cops - if you find one, there is usually a nest of corrupt cops. De Niro further says that he takes offence at that personally. Then he explains that he went to the academy together with Ray and that Ray was a very good police man with big ideals. He says that Ray changed and when he takes a look at him now, he only sees the faded ideals. Some other metaphors follow from De Niro.
As in almost every other DC a brief part from the theatrical version is removed due to continuity reasons in the DC - this time a shot of Freddy behind his desk, listening to De Niro who sits with is back to the camera.
After Freddy´s and Moes conversation, a longer piece of plot was added to the DC, showing three new scenes one after another.
Bit by bit:
Figgis drove to the river together with Freddy. In a plastic cup he has his girlfriend´s ash who died in the fire in his house. He goes to the shore and pours the ash into the river. Freddy watches him compassionately.
(change of scene)
They both drive through the city. Figgis sings quietly a sad song and looks out the window. Freddy looks at him and says that he doesn´t have to sleep at the sheriff´s department all the time but could move and stay in his basement until he finds a new home.
Figgis looks at him slightly surprised. Then they here some noise from outside; there is a buzz of activity in front of the flagpole at the sports field. Figgis tells him that the cops (Ray and the others)
throw a big party that evening.
(change of scene)
Freddy arrives that he cop´s party with a collegue. They both get out of the car. As Freddy approaches the house, he tells his collegue that he wants to settle it by himself. In front of the house, one of Rays corrupt cop-friends steps outside with his girlfriend. He asks him what he wants there. Freddy answers that he wants to talkt to Ray and that he wants to enter the house. Hastily, the cop calls him back and tells him to wait there.
109 Sec. total
Before Ray talks to Freddy, the DC was slighty extended:
Ray briefly talks to his Friend who earlier prevented Freddy from
visiting Ray upstairs. Ray asks him where he wants to go. He answers he must leave now to take his girlfriend home. Ray insists that he puts her on a train. His colleague seems to understand that Ray needs him and agrees. (They intend to kill Superboy after the party, as one could learn from the telephone conversation earlier.)
Because of the new scene a brief alternative scene from the theatrical version had to be removed due to logical reasons: here Freddy waits for Ray at the door when he comes running down the stairns, asking Freddy unfriendly what he wants. - Rays collegue is nowhere to be seen.
When Freddy at the sheriff´s department reads in the newspaper about the abandonment of inquiries against the police men from Garrison, a brief scene was added to the DC, showing Figgis and Freddys female collegue arguing about some form. Then he brings Freddy a cup of coffee who then supports him. Disappointedly, his collegue looks at him.
The conversation between Freddy and Figgis on the porch is extended in the DC. Figgis explains his metaphor about driving diagonally.
Another extension of Figgis metaphor. - Lastly, he puts up the fallen beer can again, symbolizing the bleeding comrade.
Remark: the metaphor about driving diagonally is so far-fetched that one wonders if the content of that scene is really about that thought or if the intention of the scene is to show that the snow sniffing Figgis is about to lose his mind ...
In the scene, when Freddy and Figgis follow Superboy, who earlier asked for Freddy help, the theatrical version runs a bit longer. - In the DC a part of the dialogue between Freddy and Figgis on the street is missing. Superboy, who hides behind a tree with a gun, listens in.
The part is missing, when Freddy wonders why Superboy doesn´t go to New York to get help there. Figgis assumes that it is because of his aunt living here. The following part is missing as well: they both start to return, Figgis still explaining that Ray has friends at the federal bureau and Internal Affairs, and if he wants someone dead,then it happens.
The scene is edited differently in the DC.
17 Sec. im DC
Another shot was added to the DC, showing Freddy and Ray friendly side by side at a party, after Freddy says to a collegue: "No, they just shut up and close their eyes, just like me".
After Freddy found Superboy in the old water tower, saying "Let´s go", the DC runs considerably longer:
Superboy asks Freddy if he teamed up with the corrupt cops, Freddy says no. He also says no when asked if he collaborates with Internal Affairs. Then Freddy says "Let´s go" again. - A cut to an also new scene follows, but first the pictures of the previous described scene.
(change of scene)
Freddy put Superboy in his cruiser and is on his way to the sheriff´s department. As the pass the police force bar, where Ray and friends lurk around, Freddy tells Superboy to duck. Then Freddy takes the microphone and informs a collegue that they are about to return to the police station. - The new scene runs longer, but first the pictures:
(change of scene)
Freddy and Superboy arrive at the sheriff´s department. Freddy locks him in a cell. Superboy does not agree at all to this and asks him if he knows what he´s doing. Freddy tells him to shut up and tries to reach his collegues on the radio. - First the pictures:
(change of scene)
Freddy leaves the police station and goes to the police men´s bar, where Ray hangs around with his corrupt collegues. When he arrives there, he crosses the bar until he stands in front of Ray. - Now a conversation takes place, which was happened much earlier in the theatrical version. (time index 1:05:06).
However, the scene is edited differently in the DC and dubbed as well as considerabyl extended. The differences are serious, so that an exact comparison is impossible. If we measure the length of the conversation in both versions and subtract the result regarding the theatrical version from the DC, we get the differential length of 96 seconds.
The difference in content essentially is about Freddy telling Ray in the DC, that he found Superboy and intends to take him the next morning at 06:00 to New York. Rays tries to make him change his mind, but in the end gives in. But the ominous music tells us that he means different.
Only the extension of that scene was calculated into the total runtime.
3 Min. 15 Sec (195 Sec.) extended material totally
In the theatrical version Freddy is briefly shown taking his gun out of the weapons cupboard.
3 Sec. im DC
Freddy once works the slide of the gun in the theatrical version.
5 Sec. in the DC
Freddy still waits in his office for the clock to strike 6. In the meanwhile, dawn has broken. - Freddy goes to Superboys cell and wakes him up.
Freddy, whose ear is severely injured, chases in the DC in another shot (birds view) behind one of the corrupt cops. 22 Sec.
In exchange for this the DC misses a brief scene when the cops park with the just kidnapped Superboy in a gateway und and drag him out of the car. - The following shot, which shows Freddy hobbling along, is marginally longer as well.
Alternative take of Freddy severely injured, running to Rays house. In the theatrical version his face is shown in a close-up and how he presses a hand at hies ear in pain. However, in the DC his legs are shown, which can hardly bear him. The camera pans around him and his face is shown. - The material of the DC runs 4 Sec. longer.
After the final shootout a scene was added to the DC in which Figgis and Freddy take Superboy in handcupps to the car in front of the house. The woman who saved Freddys life, looks at him worried and shocked.
Unfortunately the DC misses a relatively long scene at the end of the movie: Freddy stands at the river which seperates Garrison from New York. He looks over to the city where he once wanted to work so much. His colleague errives and reports that a truck has overturned. When Freddy at first doesn´t reply, his colleague asks if he is alright. He hesitates briefly, but then says "yes" and gets in his car. They both leave and the end credits start to roll.
96 Sec. in the DC