Comparison between the old DVD version and the new DVD version (Director's Cut)
Old DVD version: 133:44 min. excluding end credits (135:47 min. including end credits) in PAL
Director's Cut: 154:05 min. excluding end credits (156:08 min. including end credits) in PAL
- 18 extended scenes, incl. 10x alternative footage
- 3 timing changes
- difference: 20:21 min.
* additional footage old DVD version: 61.4 sec (=1:01 min.)
* additional footage Director's Cut: 1282.4 (=21:22 min.)
Background information concerning the new version
As one can look up in the related censorship report, the international DVD version of Volker Schlöndorff's prize-winning film adaption differs from various broadcasts in German TV - the latter include about 3 minutes of additional footage.
Whether the old DVD version was also the theatrical version and the other one can be considered a version exclusively for TV, could not be reasoned out. In any case, the director gave his blessing to the former during the production of the DVD and one can assume that the film was shown in cinemas like that. But, to be on the safe side, in the following we will speak of the "old DVD version" and not the "theatrical version".
When a Director's Cut re-release was announced at the beginning of 2010, one could have assumed that only the slightly extended TV-version was released for home cinema media. Far from it. Instead, the new version (available on DVD and Blu-ray since 15.07.2010) contains over 20 minutes more and, in contrast to the TV version, sensibly deepens the film with its different footage.
As one can look up in the press release concerning the premiere at the Cannes Film Festival in May 2010, the first version of the film, which was shown to Günter Grass on approval, is said to have run about 165 minutes. The film's distributor, however, demanded the run time to be less than 2.5 hours to make sure the film could have two evening performances a day. So the film was cut here and there.
In 2009, director Schlöndorff was approached by employers of the "Geyer Kopierwerke" in Berlin, concerning future dealing with the original negatives (60000 meters of footage on 200 film cans) which were still stored there.
Subsequently, Schlöndorff had another look at the footage, which, by his own admission, was still in comparatively very good shape. Without further ado, he consulted the script and reconstructed all the scenes which were then cut in the interest of time, but, according to him, would fit in the film very well now. Concerning the image quality, there is fortunately no great difference to complain about. The film looks as good as never before.
There was a problem, however: the original negatives were there, but without the sound track. So, many dialogues had to be re-dubbed. In contrast to some other re-releases this does not stick out negatively at all. The voices of Mario Adorf and Angela Winkles apparently did not really change over the years and they could easily dub the footage. Only Katharina Thalbach (Maria) was replaced by her daughter Anna, since, according to Schlöndorff, her voice is too husky nowadays.
A curious thing was the dubbing with leading actor David Bennent: After testing voice imitators, it was decided to let the grown Bennent dub himself. Due to complex postprocessing via a voice generator, he still sounds like the twelve-year-old he was back then.
Despite the age of the source material, there is nothing to complain about concerning image and sound. Now to the changes in the new director's cut.
The new footage
Most notable are a few extended scenes, which pleasantly deepen the characters.
One must especially point out an appearance of Mario Adorf near the end of the film, not least because Adorf himself always described his role as distorted by the cuts.
After Adorf alias Alfred Matzerath faced the nazi mindset with complete euphoria at the start, the old version more or less neglected, how much and for what reason he suddenly revolts against it. Now one sees nazi commissaries approach him in order to put his son Oskar in a euthanasia program. Alfred fights this vehemently, denies Oskar's presence and voices his frustration with the political reality in a following conversation with Maria. Therefore, he was a follower of the nazi cult until he was affected himself. His standing up for Oskar receives a negative connotation since the latter is indirectly responsible for Alfred's death (or at least blames himself for it) due to his handing over of the nazi pin.
While Maria herself comes across much colder in said scene (she even argues in support of giving Oskar away), such conflicts with the Nazis' attitude to morality also occur at another point of the story: Now one can see how greengrocer Greff's homosexual tendencies become his downfall. Subsequently, he hangs himself in the basement. Taking into account, of course, that he was not only attached to the same sex, but also to minors.
Here, it is also interesting that Greff was played by David Bennent's father Heinz - an information which makes it much more intense that Oskar of all people finds him hung.
Also newly added and now much easier comprehensible are two scenes featuring Mr. Fajngold, a survivor from Treblinka. The character can only be seen in the background near the end of the old version. Here, the mentally unstable Jew appears in the Matzeraths' store and in a later extension even proposes to Maria.
Schlöndorff also underlines the relevance of this character for the historic context, since the Matzeraths' decision to flee from Danzig becomes much more understandable through Fajngold's background story.
In the first half of the film, there are two more scenes between Jan Bronski and Oskar, which bring the complicated situation of the family (Agnes lives together with Alfred, however, one can assume that Oskar came from one of the affairs with Cousin Jan) more clearly to light.
The intense monologue of the young David Bennent resp. Oskar about Goethe and Rasputin deserves special mention: For nearly a minute he seemingly does not blink a single time and really manages to cast a spell over the viewer. In the background resp. his fantasy, there is a bizarre depiction of Rasputin's orgies.
A similarly surreal new scene is also offered by the part of the film with Oskar, Bebra, Roswitha and the other showmen, which was extended at various points. The ascension of the nuns of Lisieux, who are mistaken for English spies, represents another interesting addition to Oskar's irritating view of his world.
Furthermore, there are now concrete time references at several points. Those consist of extracts from the "Wochenschau" resp. stock shots from the start of the war, in order to give the modern viewer a better orientation.
The film itself was in no way completely new edited. It mostly follows the familiar order. Schlöndorff said in this context that he did not want to create a "different film", but "the actual, the complete one".
However, there were chronological changes at three points in the film. Blocks of scenes were slightly moved, which makes a quite more smooth impression in at least one case.
Besides, it is noticeable that as a consequence of the extensions, in most cases short parts of the old version were cut. Thus, the old version still offers around one minute of footage which is only featured there. However, one cannot find any spectacular shots among those.
In the wake of the director's cut, The Tin Drum is now available on Blu-ray for the first time. For this report, however, only the DVD, which comes in a slipcase, was on hand.
Disc 1, apart from the long version, contains a 13-minute introduction to the director's cut by Volker Schlöndorff. Here, he explains the background and the newly added scenes.
Disc 2 features recordings from the dubbing of the extended scenes and impressions of producer Eberhard Junkersdorf, as well as Art Director Nicos Perakis. Additionally, there is the featurette "Memories of Volker Schlöndorff", which is known from earlier releases.
There is also a 14-page booklet, containing the abovementioned pdf-file (the press release) in a German translation, decorated with lots of original pictures.
It is a little sad that one has to do without the bonus material of earlier releases. The informative audio commentary, the other documentaries of the German Premium Edition and the documentaries about the ban of the film in Oklahoma (due to suspicion of child pornography) of the US Criterion Edition would have made great bonus material, as well.
Nevertheless, in principle we are offered enough new things. And this way, the old releases do not completely lose in value.
All in all, due to the version itself, this release is a clear recommendation for every film fan. Finally, one can enjoy this absolute classic of German film in a version which comes closest to the initial vision of the director!
Run time references are given according to the pattern
old DVD in PAL / new DVD Director's Cut in PAL
20:43-20:45 / 20:43-21:24
On the old DVD version, one sees the exterior of Alfred's shop a little longer; the door is being closed.
The Director's Cut starts a little earlier inside the shop. Jan shortly talks to Oskar and ducks out of dinner with the Matzeraths.
There is tension between Jan and Agnes in the wind, then Oskar approaches and putters around with his stamp collection.
When Jan notices him, he says in Polish: "Oskar, stop that, you may not do that! Look here..." - he continues in German: "This is so valuable! The first Polish stamp in over a hundred years."
While one can see the stamp enlarged by a magnifying glass, Alfred shouts from the off: "Dinner's ready! We're having chanterelles!"
Jan obviously feels uncomfortable and says: "Oh well, I...I have to go now."
Agnes: "Will you stay for dinner? Alfred is cooking chanterelles."
While Oskar walks in Alfred's direction, Jan says: "No, I'm doing counter service today. In 20 minutes."
Director's Cut 38.8 sec. longer
21:53-22:02 / 22:32-23:10
In the old DVD version one can see Alfred and Agnes sweeping up the shards a little longer; meanwhile, an off-commentary by Oskar: "Because when they took my drum away, I screamed. And when I screamed, the most choicest would break!"
The Director's Cut, however, already shows a first scene outside during the abovementioned commentary. This scene also explains why Oskar is wearing the paper hat shortly after.
He sceams again and a glass shatters. The other children approach him admiringly and one boy puts the hat on Oskar.
Director's Cut 29 sec. longer
25:52-25:54 / 27:00-27:06
On the old DVD version Oskar plays 1 second longer; then, the teacher takes a birch and heads towards him.
In the Director's Cut, the teacher approaches him for the first time in a new shot, whereupon Oskar immediately starts screaming and makes a window burst.
Subsequently, the Director's Cut sets in with the shot of Agnes addressing the teacher.
Director's Cut 4.5 sec. longer
28:37 / 29:49-33:42
Before Oskar is seen in the yard together with the other children, there is a new scene. Oskar visits the baker's wife (Gretchen Scheffler) who wants to teach him the alphabet or should generally act as a teacher. But he rather wants to be read different books. Immediately, he visualizes the lewd tale and realizes that he grew up torn between Rasputin and Goethe.
Gretchen reads, while Oskar, quite uninterested, stuffs himself with cake: "A, B, C, and D - pray, playmates, agree. E, F, and G - well, so it shall be. J, K, and L - in peace we will dwell. M, N, and O - to play let us go. P, Q, R, and S - love may we possess. W, X, and Y - will not quarrel or die. Z, and ampersand - go to school at command!"
During her last words, Oskar went to the book case and took out two books: "This. And that one."
Gretchen chides him: "You're not listening, Oskar! Let's start again. A, B, C, and D - pray, playmates, agree. E, F, and G - well, so it sh..." Oskar interrupts her by laying his choice of books over the textbook: "Oskar read!"
Gretchen is sceptic: "This is nothing for you, little Oskar. Rasputin!"
Oskar reads: "Rashu...Rashu...Rapupin! OSKAR!"
That last word was wrong and Gretchen corrects him: "No. ORGY."
Oskar comments euphorically: "Orgy. Oskar read!"
Gretchen shuts the book and puts a glass away from the table. But then, due to Oskar's stubborn expression, she starts reading: "'Everything that radiates from me...', said Rasputin, '...is a source of light, that washes away all sin.' Is it surprising that all ladies at court yielded to the suggestion of his speech? Rasputin was..."
Agnes enters the room and, after being welcomed by Gretchen, says: "Well, are you going ahead? And what are you reading, Rasputin? I wonder if little Oskar understands anything?"
Gretchen: "Of course not! I'm doing my best, but he just won't learn."
Agnes sits down next to her: "Where in the text are you?"
Gretchen: "The lounge in...in Gorochowa Street."
Agnes: "There, of all places!"
Gretchen continues reading: "'Rasputin was alone with Irina and the Grand Duchess who had a smile playing on her shaky lips. 'A saint was resurrected', she whispered and her eyes became wide and enraptured. And they lost themselves in fondlings."
Meanwhile, Oskar has stood up and, behind a curtain at the other end of the room, his own mental cinema is starting: script writer Jean-Claude Carrière is starring as Rasputin, who is ensnared by naked women.
Gretchen continues reading from the off: "Then they kissed the Starez on the forehead and cheeks. With his glowing eyes the Starez beguiled them all. Soon, the ladies leant against his chest. 'Mercy!'" - one shortly sees the the restless legs of her and Agnes - "His black beard tickled her breast. The wonder man was buried under their seething bodies."
Rasputin steps forth now and points at Oskar. The latter reacts with a long monologue in a single shot: "They will say: 'In which narrow world the young man had to train up himself!' But while my poor Mama and Gretchen Scheffler are reading Rasputin again and again, I discovered Johann Wolfgang von Goethe. Die Wahlverwandtschaften. And so I grew, if not from without, but from within, torn between Rasputin and Goethe, until I created one book from the two. So that every demonic page was followed by an enlightened one. As it is in life."
49:22-49:34 / 54:27-55:41
After Alfred has left the room, in the old DVD version one can only see Oskar glued to the radio and listening to the nazi speech.
In the Director's Cut, Agnes first hangs up a picture of Beethoven and after Jan has passed through the room with Oskar, there are explicit comments to the effect that one sees father and son here.
In front of the radio, Jan kisses Oskar and sets him down. He switches the radio on.
Oskar notices: "Blue. Blue! Blue eyes. Oskar too!"
Jan: "The blue eyes of the Bronski's. We both have them."
Oskar takes his hand, but Agnes approaches and chides Jan: "Jan, stop it, let it be!"
While the camera pans towards the radio, Jan says to Agnes: "I just can't stand that the doesn't know the truth."
Director's Cut 62.2 sec. longer
71:37-71:40 / 77:44-77:48
On the old DVD, Oskar knocks on the door longer.
The Director's Cut, however, offers a new shot of the shocked Agnes inside and then only shows the remaining 0.5 sec. of the shot of Oskar.
Director's Cut 0.6 sec. longer
83:07 / 89:15-89:30
After the Germans' reaction was pointed out to the viewers through Hitler's recorded speech, there are stock shots of the attack on Danzig in the Director's Cut.
90:34-91:41 / 96:57
After Oskar was carried off, the old DVD version shows the scene in which Schugger-Leo informs Oskar about Jan's execution and gives him the remaining bullet.
In the Director's Cut, this was shifted backwards and the nazi march immediately follows. Here, Oskar stands by anxiously, while Alfred enjoys the historic moment.
+ 66.2 sec.
Alternative / Timing change
92:17-92:30 / 97:33-98:54
In the Director's Cut, Schugger-Leo approaches Oskar during Hitler's ride through the crowd and says: "I've seen the lord! Come with me, Oskar! I'll show you something!"
At this, he opens his hand and presents a bullet casing.
This is followed by the previously removed scene with the bullet in front of Jan's place of execution. Actually, a much better order of scenes.
(80.8 sec. - less the identical footage, there are 14.6 sec. exclusively in the Director's Cut.)
In the old DVD version, the nazi march is screened off with a tracking shot over the roofs.
Director's Cut 67.7 sec. longer
99:16-99:25 / 105:40-106:26
After the tête à tête in the changing cubicle, the Director's Cut shows differently and more lenghitly, how Alfred leaves the house for a nazi festivity.
In the Director's Cut, Alfred dresses up for the festivity already in the flat with the assistance of Maria. There are first sexual innuendos.
Alfred: "What did I tell you? It works! It works!"
At this, he gropes Maria on the breast; she brushes his hand off.
Alfred: "All France in five weeks. Our boys are standing at the Channel! I tell you, Maria, that's a puddle jump! We can spit over to England! And my humble self, Alfred Matzerath, was promoted cell leader. If that's no reason to have a little party..."
Alfred: "Where is that thing?"
Maria goes to the table in the other room, on which a glass of woodruff soda is placed. She asks Alfred: "Will it be a long night?"
He replies: "Maybe, girl, maybe. Too many victories are to be celebrated."
He approaches Maria and gives her a slap across the backside. She is startled for a moment.
Maria now takes the swastika-pin from the table and attaches it on his uniform: "So, your bonbon. Now you're all spiffed up!"
The old DVD version starts earlier in front of the door where Alfred says the same last sentence: that it will be a long night due to the many victories which are to be celebrated.
Director's Cut 36.7 sec. longer
107:38-109:31 / 114:39
Here, the Director' Cut immediately shows the child of Maria and Alfred being born. Beforehand, the old DVD shows Oskar going to bed with Greff's wife. This comes later in the Director's Cut.
+ 112.8 sec.
112:05 / 117:13-120:53
After Oskar has comforted his alleged son Kurtchen, his visit to the woman was inserted in the Director's Cut.
However, there is more to it: now one can also see what happens to Greff (who, according to his wife, has a soft spot for little boys).
Greff is shown in the basement, while doing some very borderline bondage games with boys from a nazi youth league. Someone is watching him doing that. Shortly after, backup arrives and storms the basement.
Subsequently, Greff hangs himself: at first, this is only implied by a potato bag acting as a counterweight; then, his wife comes running on the yard, screaming. Oskar also casts a glance on the corpse.
219.8 sec. - less the identical footage, there are 107.1 sec. exclusively in the Director's Cut
114:21-114:23 / 123:09-123:23
Initially, there are only SS stock shots of Paris in the Director's Cut. During the last of those, Bebra starts his speech for the "lead soldiers" from the off.
In the old DVD version, the next shot starts earlier, corresponding with Bebra's speech.
Director's Cut 11.9 sec. longer
115:45 / 124:45-126:55
After Oskar's first performance, the Director's Cut shows more from the troupe of showmen.
Roswitha guesses the age of a soldier in the audience, and when they bring him champagne, Oskar makes the glass burst. Then, Bebra rides his unicycle and when the lights suddenly break down, Roswitha and Oskar become closer.
All of this is also shown in the old DVD version, but comes a little later.
116:14-116:19 / 127:24-127:29
While the old DVD only contains a long shot at this point, the middle part was replaced by a more distant view in the Director's Cut.
The dialogue stays the same, however.
No difference in time (both 5.1 sec.)
116:53 / 128:03-128:45
Roswitha and Oskar are fondling each other longer, until the latter notices Bebra behind him and immediately salutes.
Bebra calms him: "Have yourself, children, kiss! Today, we visit concrete and tomorrow, concrete will crunch between your lips; take the lust for a kiss."
He departs and Roswitha and Oskar grin at themselves shortly.
118:31 / 130:23-132:20
Bebra notices something at the beach: nuns. One of the soldiers, however, is ordered to shoot them dead and in a surreal moment (obviously Oskar's view of events), one sees the nuns ascending heavenwards. Calm piano music is heard all along.
Bebra: "Tell me, Corporal Lankes! I see five black things on the beach."
Lankes looks there and explains: "Oh, those are the nuns of Lisieux. They sometimes come at low tide and collect clams and crabs."
While one can see the nuns hopping around the beach rather oddly, the field telephone rings and Lankes hurries down: "Dora 7 here, Corporal Lankes!"
Lieutenant: "Corporal Lankes, movement in the forefield! Are you blind?"
Lankes: "Those are nuns, Senior Lieutenant."
Lieutenant: "And if they aren't? Never heard of the 5th column?"
Lankes: "Affirmative, Senior Lieutenant."
Lieutenant: "Clear the beach straightaway. Restricted area means restricted area!"
Lankes: "They're just collecting crabs, Senior Lieutenant. I know them!"
Lieutenant: "This is a strict order."
Lieutenant: "Affirmative, Senior Lieutenant!"
Immediately, shots are being fired and while the nuns fall to the ground, Roswitha is praying.
Subsequently, one sees the nuns ascending.
More stock shots are following; mainly from sea battles.
118:36-120:48 / 132:25
At first, one sees the exterior shot in the evening a little longer.
Then, the rest of the performance of the showmen's troupe, which was seen in the Director's Cut shortly before, is re-inserted here.
+ 131.9 sec. - less the identical footage, there are 1.6 sec. exclusively on the old DVD
125:04-125:05 / 136:41-139:28
On the old DVD, Oskar is seen a little longer and then it fades out.
Here, the Director's Cut offers a longer block with new footage instead. Initially, Maria goes on grumbling at Oskar, while Alfred just watches him contentedly. Then Oskar, standing by the roadside, is dragged into a hideout by Alfred in the last second; just before two nazi commissaries arrive and ask for news. As soon as Oskar reappears, they want to take him into a euthanasia program, which Alfred strongly diaspproves of.
After he has gotten rid of the two Nazis, Alfred has a discussion with Maria who does not seem really interested in Oskar's well-being.
Maria: "And I'm heating water for a bath. There was enough trouble because of you. They wanna take you to an asylum. You certainly deserved it. Running away and not telling anyone!"
Alfred pushes her aside.
Now one sees Oskar crossing the street and one man already warns in passing: "Get off, Klepper-Mäntel!"
But only Alfred bothers about it, drags Oskar in and hides him in a chest.
Two nazi commissaries now enter the shop and Alfred anxiously greets them: "Heil Hitler, gentlemen!"
The greetings are returned and Alfred says: "Nothing new, not a hunch. We're desperate as well."
Man #1, while the other one crosses the room: "We have been conveyed information suggesting the abnormal child was seen."
Alfred: "Here? In the Labesweg in Langfuhr?"
Man #2: "You would have had to report that. Not some neighbours."
Man #1: "We had agreed to keep up constantly."
Oskar opens the chest slightly and listens.
Man #2: "The child, as we agreed, must get in medical custody. In any case it must be removed from the street."
Alfred: "That may be right, but..."
Man #1: "As a party comrade you should know, how important the Führer considers, and has always considered, the public health, even in this weary hour."
Man #2: "Just in case, we have brought the declaration of consent for institutionalization in the Kohlhammer sanatorium."
Alfred desperately shakes his head: "My child won't go to Kohlhammer!"
Man #1: "Mister Matzerath! One little signature."
Alfred: "Absolutely out of the question. I had to promise that on my wife's deathbed. I am the father and not the health police!"
Alfred is still upset when he is in the bedroom at night: "I always played along, but not this time! That goes too far. I don't have the heart to do it! You can't give your own son...."
Maria: "And if all the doctors say he should go to an institution?"
Alfred: "They probably have no children. You can believe me, Maria."
Maria: "Just calm down, Alfred. You'll wake up Kurtchen."
She bends over the crib and then sets her alarm clock on the bed:
"You're acting as if that wouldn't bother me at all. But when they say that's the way you handle it nowadays, then I don't know what's the right thing to do."
Alfred: "They took many away already. No one came back! Agnes would never have played along...or have allowed it."
Maria: "Well, that's understandable, because she was his mother and has always hoped that things would get better with him. But as you can see....they didn't. He's just being pushed around. Can't live, can't die."
Alfred tears up the declaration of consent: "Out of the question!"
Maria turns off the light and closes her eyes.
Director's Cut 166.2 sec. longer
128:33 / 142:56-147:52
After Alfred's death, there is a new longer block of scenes.
First stock shots from the arrival of the Russians in Danzig.
Then, Mr. Faijngold enters the Matzeraths' shop and informs Maria that in the course of the relocation measures, he was supposed to take over the shop.
Fajngold dazedly strays around with a notepad in this hands. At one point, he stops again and says something in Polish - but no one can be seen around, except for shadows on the wall.
Upon arriving at Alfred's shop, it seems he has reached his destination. He says to Maria, standing inside: "Good day! Excuse me for bothering you. Is this Matzerath's colonial goods store?"
Maria nods and he enters. At this, he holds the door open for his imaginary family.
Now Fajngold asks: "And you must be Mrs. Matzerath?"
He shortly bends over to Kurtchen and then admires the inventory of the store:" Ljuba, that's the balance! A real decimal balance! The petroleum tank. A brass pole for the sausages. And the cash register!"
While Oskar watches from the background, Fajngold continues in Maria's direction: "I am Mister Fajngold from Lemberg. May I introduce you, this is my wife Ljbua..." - he points to his left, then to his front (into nothing): "...and these are my six children: Berek, Lew, Jakob, Mendel, Leon and Sonia, my shining star."
Maria looks rather puzzled and Fajngold produces something from his briefcase: "These are the documents. Order: We are to take over the store. If you want, I will hire you as a salesgirl and you can stay with us with your own little children. You have room here. Hm, so much room!"
Oskar grabs his drum; meanwhile, Fajngold has discovered cellar door: "Does it lead down to the basement? Can I go down there? If you allow me?"
He instantly walks down and is delighted: "Honey! Soup! Palmolive, you still have it! Even flour. Very good! Mister Matzerath really made provisions. He must be a decent merchant."
Appropriately enough, he immediately happens upon Alred's corpse still lying there: "Oh my god! Mister Matzerath?"
Maria pulls the sheet away and replies drily: "Yes, it was him, my husband."
Excitedly, Fajngold tells it his invisible family in Polish. Then he sits down and starts pouring out his heart in Polish: "This is Mister Matzerath..." - on in German: "...he had his time. My wife and children lay around like that, as well. Before they threw them in the ovens, in Treblinka. Only I...still live, because I...scattered chlorine. Chlorine, carbolic, lysol I have scattered. Because I was the desinfector of the camp."
He recovers himself a bit and says: "Come, Ljuba. Help Mrs. Matzerath to wash the corpse."
131:40 / 150:59-152:01
Another additional scene with Fajngold, in which he asks for Maria's hand to prevent her deportation.
Maria, however, rather wants to try her luck in the west.
Maria packs her bags and Fajngold hesitantly says: "Wouldn't you...like to be my wife, Maria? Then you wouldn't be extradited with your children, when you're my wife."
First, Maria looks baffled, but then she says decidedly: "It won't work. This here...is gone. And over."
She continues tying up her parcel and Fajngold produces something: "There, Maria, take that on your journey! It's margarine and artificial honey."
He also gives her a bottle: "And you always need some lysol!"
Maria: "Thank you. We going to the Rhineland. To my sister."
Fajngold: "Yes, I understand. Might be better...in the west."
At the very end of the Director's Cut, there is a reference to the sources of the new footage on a black screen.