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Comparison:

  • Theatrical Version
  • Director's Cut
Release: Aug 07, 2009 - Author: Mike Lowrey - Translator: klepp - external link: IMDB
That the director Michael Bay enjoys blowing up as many things as possible in the most spectacular way is a long known fact to most movie fans. With movies like Bad Boys 1 + 2, The Rock, Armageddon or just recently Transformers 1 + 2 he has already proven this often enough. Also his war-epic Pearl Harbor from the year 2001 is no exception to that. But besides the Japanese attack on the US navy that lasts almost half an hour and the later counterattack, he also had to tell a time intensive love story so he stretched his movie to more than two and a half hours of running time.

Rated PG-13 in theatres, the movie was also released on DVD. Besides that a digipak with 3 discs was released that contains the Director's Cut of the movie. Already on the back-cover the movie is being advertised with ca. 60 changes showing it from an "unexpectedly pitiless side". And in fact, especially in the action scenes the movie is noticeably harder than the Theatrical version by the adding of additional scenes or simple but effective CGI-splatter-effects.

The anyway long running time of the movie has, however, not been changed drastically. The Director's Cut is only a bit more than a minute longer than the Theatrical version because both versions contain exclusive scenes. For fans of the movie it is probably advisable to own both versions.

Comparison between the uncut Theatrical version and the uncut Director's Cut (both from Buena Vista / Touchstone).

54 changes being

3 additional scenes in the Director's Cut
3 extended scenes in the Director's Cut
4 extended scenes in the Theatrical version
5 additional scenes in the Theatrical version
6 scenes with alternative footage
7 Dialogue extensions with alternative footage
26 Violence extensions in the Director's Cut

The Director's Cut is 68.31 sec. or about 1 minute 9 seconds longer than the Theatrical version.

Note from the translator:
DC stands for Director's Cut
TV stands for Theatrical version
Dialogue extension with alternative footage
TV/DC: 0:30:56: At Rafe's response to the question if all Yankees are as anxious to die as he is the two versions show him from a different perspective. Also, his line was slightly shortened in the Director's Cut. In the Theatrical version he says: "Not anxious to die, Sir, just anxious to matter.", while he replies in the Director's Cut: "Just anxious to matter."
The Director's Cut is 0.32 sec. longer



Dialogue extension with alternative footage
TV: 0:34:01
DC: 0:34:04
: The dialogue between Gooz and his comrades is tighter in the Theatrical version, in the Director's Cut there are several pauses and slightly changed lines, also there is an additional line in the Director's Cut.

TV: "Look, it says right here. Never ride waves amongst rocks or submerged pilings. See? So you shouldn't do that."
Gooz: "Well, but how're you gonna know they're submerged, when they're submerged?"

DC: "See, look, it says right here. Never ride waves amongst rocks or submerged pilings. See? Here it says, you shouldn't do that."
Gooz: "Well, how the hell are you gonna know they're submerged, when they're submerged?"
- "Well, there's also a chapter here on morons."
The Director's Cut is 4.84 sec. longer



Alternative footage
TV: 0:42:07
DC: 0:42:15
: The two versions use a different shot to the line "That's from a virgin.". The only plausible reason for this is that the Theatrical version shows Evelyn smiling for a moment and then separating herself from the group with a serious look on her face. So replacing the shot in the Director's Cut got rid of a small logic error.
The Director's Cut is 1.52 sec. longer

Dialogue extension with alternative footage
TV: 0:42:25
DC: 0:42:33
: Again the Director's Cut contains some slight dialogue extensions.

TV: "Hey, sweetheart. She hates me."
- "Good to see you, Red."

DC: "Hey, sweetheart. She hates me. Got no one with this girl."
Sandra: "Here's your strange, little Red."
- "Good to see you, Red."
The Director's Cut is 5 sec. longer

Alternative footage
TV: 0:42:52
DC: 0:43:07
: An insignificant use of alternative footage. In the Theatrical version the shot of the fight continues, in the Director's Cut there is a short frontal shot of Doris. The reason for this change can be found in the dialogue that takes place. Doris' opponent says: "You hit pretty hard, for a nigger cook!" The racial slur cannot be heard in the theatrical version.
No time difference

Additional scene in the Theatrical version
0:56:13: Evelyn puts Rafe's paper plane to the letters and the diary which she closes and puts in a drawer covered with a cloth. She closes the drawer and then we see her saying: "Bye, Rafe."
10.44 sec.



Alternative footage
TV: 1:01:37
DC: 1:01:40
: The love scene between Danny and Evelyn contains slightly different shots in each version.The Director's Cut is longer.
The Director's Cut is 13 sec. longer

Theatrical versionDirector's Cut



Alternative footage
TV: 1:04:28
DC: 1:04:44
: The two versions contain different scenes. The Director's Cut shows Danny being surprised by the lathering froth and then looking to the laughing Evelyn. All of this is happening in slow motion.
The Theatrical version, however, shows Danny and Evelyn caressing each other, and then pans to a scene of them lying in a car, performing the following dialogue:
Evelyn: "Do you ever wonder if this war is gonna catch up with us?"
Danny: "I don't know why."
Evelyn: "Every moment we're not together you're training for it."
Danny: "Yeah, well, I'm training for moments like these. 'Cause I have no idea how I'm gonna get this car out of the sand." (Evelyn laughs).
The Theatrical version is 15.6 sec. longer

Theatrical versionDirector's Cut



Dialogue extension with alternative footage
TV/DC: 1:07:16: In the Director's Cut admiral Nimitz says: "Gets scarier every day we can't find this fleet."
The Director's Cut is 2.12 sec. longer



Additional scene in the Theatrical version
1:09:58: In the Theatrical version there is an underwater shot of an "epiphany" of Evelyn's face. This shot was removed from the Director's Cut.
The Theatrical version is 3.88 sec. longer



Violence extension in the Director's Cut
TV/DC: 1:27:31: This scene was not extended but in the Director's Cut blood was added using CGI. Here, the soldiers get torn to pieces, while the Theatrical version shows them flying away without being torn up.
No time difference



Extended scene in the Director's Cut
TV/DC: 1:28:13: When Red recognizes the arriving planes this is significantly shorter in the Theatrical version. The Director's Cut, however, shows him going to the urinal and looking in the direction of the planes for several times before he realizes what is going on.
The Director's Cut is 12.56 sec. longer



Extended scene in the Theatrical version
1:28:40: In the Theatrical version Red is stuttering longer when he wants to warn his comrades.
3.16 sec.



Violence extension in the Director's Cut
1:29:35: Several corpses are flying through the frame after the torpedo hit the ship.
0.76 sec.



Violence extension in the Director's Cut
1:29:51: Several American soldiers are torn up by Japanese bombardment, a separated head rolls through the frame and the soldiers shoot back.
16.32 sec.



Violence extension in the Director's Cut
TV: 1:29:45
DC: 1:30:12
: The two versions show this scene a little differently and each version contains footage that is exclusive or featured at another part of the movie. Also, unlike the Director's Cut the Theatrical version does not contain a close up of the injured captain holding his own guts in his hands.
The Theatrical version is 3.6 sec. longer



Violence extension in the Director's Cut
TV: 1:30:41
DC: 1:31:03
: Both versions show something different, here. While the Theatrical version shows Evelyn earlier covering behind the fountain, the Director's Cut shows a man being torn apart after being attacked by an airplane.
The Director's Cut is 1.24 sec. longer



Violence extension in the Director's Cut
TV: 1:30:46
DC: 1:31:10
: In the Director's Cut a CGI-effect was added to an escaping man, he gets shot in the chest gorily. There is no blood in the Theatrical version.
No time difference

Theatrical versionDirector's Cut



Violence extension in the Director's Cut
TV: 1:31:09
DC: 1:31:33
: The fleeing soldiers die in the hail of bullets. In the Director's Cut this is being garnished with gory CGI-splatter-effects.
The Director's Cut is 0.51 sec. longer

Theatrical versionDirector's Cut



Violence extension in the Director's Cut
DC: 1:32:42: An additional scene in the Director's Cut. Soldiers covered with oil are on fire and jump into the sea.
9.88 sec.



Violence extension in the Director's Cut
DC: 1:33:10: A soldier with a bleeding bullet wound in his chest is being looked after by a paramedic.
1.36 sec.



Violence extension in the Director's Cut
TV: 1:32:40
DC: 1:33:15
: While the soldier holding the dog receives a hectic body shot and then slumps down in the Theatrical version, the Director's Cut shows another shot of him receiving a(n) (unbloody) head shot through his helmet. Both versions are parallel up to each single frame.
No time difference

Theatrical versionDirector's Cut



Additional scene in the Director's Cut
DC: 1:36:20: The Director's Cut offers an additional shot of the sinking navy ship. In the Theatrical version, however, the previous shot of the flushed ship is a few frames longer.
1.6 sec.

Alternative footage
TV: 1:36:14
DC: 1:36:51
: Marginal difference. While the seamen stick longer to the handrail in the Theatrical version, the Director's Cut shows one of them not being able to stick to it and sliding down.
The Director's Cut is 1 frame (0.04 sec.) longer

Violence extension in the Director's Cut
DC: 1:39:28: Soldiers swimming in the water, including two seamen who want to help the drowning men on a life boat get shot gorily. The previous and the following shot of the soldiers in the water being shot at appears a little later in the Theatrical version, among other things the view of an approaching airplane was flipped. However, this is not being pictured.
1.16 sec.



Violence extension in the Director's Cut
TV: 1:18:48
DC: 1:39:31
: The Director's Cut shows a soldier being shot (ungorily), the Theatrical version shows a man falling back into the water.
The Director's Cut is 1 frame (0.04 sec.) longer

Violence extension in the Director's Cut
DC: 1:40:56: And once again, the Director's Cut gets pretty gory. A soldier gets his arm shot off, another one half of his head. They fall off the ship into the water.
6.08 sec.



Violence extension in the Director's Cut
TV: 1:41:16
DC: 1:42:02
: The Director's Cut explicitly shows the leg stump of the soldier the doctor is trying to help while the Theatrical version shows another wounded man being lifted on the table on a stretcher.
The Director's Cut is 1 frame (0.04 sec.) longer

Theatrical versionDirector' Cut



Violence extension in the Director's Cut
TV: 1:41:19
DC: 1:42:05
: The following shot of the bloody leg stump can also be seen in the Theatrical version but amazingly it seems that the color of the blood has been darkened that it does not jump to the eye that obviously.
No time difference

Theatrical versionDirector's Cut



Violence extension in the Director's Cut
DC: 1:42:08: For a short moment the doctor can be seen still operating on the leg.
1.52 sec.

Violence extension in the Director's Cut
DC: 1:42:13: We see a separated hand with the thumb almost entirely torn off on an operating table and a separated foot in a petri dish.
4.48 sec.



Violence extension in the Director's Cut
DC: 1:42:23: And once again, we see the doctor taking care of the leg stump. The Theatrical version shows the nurse Sandra a little longer.
0.8 sec.



Alternative footage
KF: 1:41:46
DC: 1:42:39
: Evelyn has to bring herself to put her fingers on the bleeding wound on the injured soldier's neck. Without any obvious reason, because not explicit, the Theatrical version shows Evelyn from the other side.
The Theatrical version is 1.24 sec. longer

Theatrical versionDirector's Cut



Violence extension in the Director's Cut
KF: 1:41:48
DC: 1:42:40
: Therefor the Director's Cut shows her longer putting her finger on the wound.
1.24 sec.



Violence extension in the Director's Cut
TV: 1:45:10
DC: 1:46:04
: The photographer who has just been shot falls to the ground in both versions. In the Director's Cut, however, he has a CGI-head wound.
No time difference

Theatrical versionDirector's Cut



Dialogue extension with alternative footage
TV: 1:51:35
DC: 1:52:29
: In the Director's Cut Earl says: "Come on, you slit-eyed cocksuckers! Let's go.". In the Theatrical version, however: "Now, get this Jap sucker!"
The Director's Cut is 0.76 sec. longer

Theatrical versionDirector's Cut



Additional scene in the Director's Cut
DC: 1:55:35: A bottle containing an infusion falls to the ground in the Director's Cut.
0.68 sec.



Violence extension in the Director's Cut
TV: 1:54:46
DC: 1:55:44
: The Theatrical version shows a shivering soldier in bed, the Director's Cut shows a soldier winding in pain with his face wreathing in pain.
The Director's Cut is 1.2 sec. longer

Theatrical versionDirector's Cut



Violence extension in the Director's Cut
DC: 1:55:45: In the Director's Cut Sandra gives an injection to a soldier.
1.32 sec.



Violence extension in the Director's Cut
DC: 1:56:05: The Director's Cut shows a soldier screaming in pain. The doctor says: "Okay, buddy, okay, buddy." and takes off his right arm. The soldier screams even louder and blood splatters onto the camera.
6.68 sec.



Additional scene in the Theatrical version
TV: 1:55:09: For a few frames the Theatrical version shows Evelyn drawing something on a soldier's forehead with a lipstick.
0.52 sec.

Additional scene in the Theatrical version
TV: 1:55:41: Evelyn screws up her lipstick.
1.6 sec.



Violence extension in the Director's Cut
DC: 1:56:49: A soldier with heavy burns gets supported by one his comrades while walking.
2.32 sec.



Additional scene in the Theatrical version
TV: 2:02:43: The Theatrical version shows the scene with the priest longer. The camera also pans to the priest.
5.16 sec.

Violence extension in the Director's Cut
TV: 2:03:04
DC: 2:03:52
: The two versions contain different shots here. First, the Theatrical version shows the priest consecrating a dead man followed by a tracking shot, then a shot of a net filled with dead bodies being pulled out of the water, the Director's Cut, however, begins with a few dead bodies in the water, then the priest consecrating a different dead man and then the net with the corpses. Oddly enough this scene seems more explicit in the Theatrical version.
The Director's Cut is 5.4 sec. longer

Theatrical versionDirector's Cut



Extended scene in the Director's Cut
DC: 2:04:35: The congressmen applaud the president longer. The Director's Cut fades to the next shot of the president.
7 sec.



Extended scene in the Theatrical version
TV: 2:10:57: In the Theatrical version Evelyn says: "And then all this happened. I haven't told Danny."
10.88 sec.



Additional scene in the Theatrical version
TV: 2:14:37: At the beach Rafe burns the letters Evelyn sent him when he was fighting in England. From the off we hear Evelyn's voice reading one of the letters.
"Dear Rafe, seems strange to be this far from you, but you should know this. Every night I go to sleep..."
Then Danny appears and a dialogue develops.
Danny: "Looked all over for you."
Rafe: "Danny this....this ain't no time to leave things unsaid. And we gotta face facts here. We just both love the same woman."
Danny: "You know, she's the first girl I felt this way about, Rafe. I couldn't help what happened any more than you could."
Rafe: "This is different, though, Danny. Evelyn already lost a man she loved once, I just don't want that to happen to her again."
Danny: "Guys like us got no choice. This is war, she knows that."
Rafe: "Danny, don't do this. Don't go on this mission. You got nothing to proof."
Danny: "You've been trying to protect me since we were kids."
Rafe: "Yeah, well, you do tend to need it from time to time."
They both have to smirk and Danny hits Rafe's shoulder comradely.
87,04 Sec.



Dialogue extension with alternative footage
DC: 2:23:33: In both versions Col. Doolittle says the same line but in the Director's Cut he adds something (printed bold).
Col. Doolittle: "I wasn't built to be a prisoner. So I would have my crew bail out, I'd find the sweetest military target I could and ride my plane right smack into the middle of it and kill as many of those bastards as I possibly could."
2.56 sec.



Additional scene in the Director's Cut
DC: 2:24:29: We see the navy from a bird's eye view followed by a cut into the ship. A few soldiers are playing cards then Col. Doolittle enters the catacombs and addresses a speech to his men.
Col. Doolittle: "At ease, men. Say, Jack, I thought you said these were the sharpest guys in the Air Corps?"
Richards: "I thought so."
Col. Doolittle: "Well, you got Red here, thinking he's gotta scoop that pot here with a king high?"
Richards: "I know."
Col. Doolittle: "Oh, no, I ... !"
Soldier: "He's been bluffing all day.."
Col. Doolittle: "I'm just saying! You know, fellas, when you're old men you'll remember tomorrow and what you did. You'll tell your children and your grandchildren and they'll be as proud hear you tell that story as you'll be to tell 'em. I promise you that. Boys, tomorrow night we eat Chinese! And Red's buying!"



Col. Doolittle leaves and goes to Danny and Rafe lying in their beds.
Col. Doolittle: "So, how are you two fellas doing? At ease. You know, I've been thinking about how lucky you two are. You've been through a lot together. Going all the way back to flight training."
Danny: "And sure before that, Sir."
Col. Doolittle: "That's good. Because tomorrow is a good day to have your best buddy beside you. So, everything all right here, Captains?"
Rafe: "It's all taken care of, Colonel."
Col. Doolittle: "Very good."
98.88 sec.



Dialogue extension with alternative footage
DC: 2:26:16: In the Director's Cut Gooz affronts the Japanese radio announcer. His line is missing in the Theatrical version.
Gooz: "No, we're gonna bomb the fuck outta that bitch tomorrow."
No time difference



Extended scene in the Director's Cut
DC: 2:32:42: The explosion of the factory starts a few frames earlier in the Director's Cut.
0.84 sec.



Extended scene in the Theatrical version
KF: 2:31:12: Therefor, the end of the shot is a few frames longer in the Theatrical version.
0.44 sec.



Violence extension in the Director's Cut
TV: 2:38:16
DC: 2:39:39
: In both versions Rafe is checking Anthony's pulse who is lying dead on the ground. In the Theatrical version his face is "clean", in the Director's Cut, however, it is covered with blood.
No time difference

Theatrical versionDirector's Cut





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