![]() In an excellent dissection of the story for Decider, Glenn Kenny explained that the only way to see the uncut version in the US was “via a Blu-ray issued by Fox in 2011″. ![]() ![]() All digital versions sold for home ownership in that nation are now the bowdlerised cut. It seemed the edited version was identical to that used on other streaming services in the US. But not for the same reasons.Īfter some prodding, it was confirmed that the version streamed on the Criterion Channel cut an exchange in which Doyle, a habitual racist, makes glib use of what we shall here call the n-word. You got that a lot in Ireland before the nation grew up. The film then cuts to a medium shot that finds Scheider all the way across the lobby. Roy Scheider, playing detective Buddy Russo, walks wearily from the interior of his precinct house towards the front door where Gene Hackman, as the indestructible “Popeye” Doyle, waits abrasively. ![]() American pundits were, however, recently surprised to see a jump cut they hadn’t previously noticed. William Friedkin, director of The French Connection, is a great fan of that movement, and his 1971 cop thriller shows its influence. It is not so long ago that, in this nation, censors hacked American movies so gracelessly those entertainments ended up accidentally aping the jump cuts beloved of the French New Wave. ![]()
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