"Legend
Ultimate Edition - 1985 (2002) - Universal
review by Adam Jahnke of The Digital Bits
Film Ratings (Director's Cut/U.S. Cut): B-/C-
Disc Ratings - Video (Director's Cut/U.S. Cut): B+/B-
Disc Ratings - Audio (Director's Cut DTS/Director's Cut DD/U.S. Cut): A-/B+/C
Disc Ratings - Extras: A
Specs and Features
Disc One: Director's Cut
114 mins, PG, letterboxed widescreen (2.35:1), 16x9 enhanced, custom keep case packaging, single-sided, RSDL dual-layered (layer switch at 1:02:50 in chapter 10), audio commentary with director Ridley Scott, animated film-themed menu screens with music, scene access (18 chapters), languages: English (DTS 5.1, DD 5.1 and DD 2.0), subtitles: English, French and Spanish
Disc Two: U.S. Theatrical Version
90 mins, PG, letterboxed widescreen (2.35:1), 16x9 enhanced, custom keep case packaging, single-sided, RSDL dual-layered (no layer switch), Creating a Myth: The Memories of Legend documentary, isolated music score by Tangerine Dream, 2 lost scenes, 3 storyboard sequences, 2 theatrical trailers (U.S. and International), 4 TV spots, 3 photo galleries, Is Your Love Strong Enough music video by Bryan Ferry, production notes, cast & filmmakers bios and filmographies, DVD-ROM features (script-to-screen viewer), Universal recommendations, animated film-themed menu screens with music, languages: English (DD 2.0 Surround), subtitles: English, French and Spanish
I don't believe I'll get much argument when I say that the fantasy genre has had, at best, a very spotty track record on film. Other than Jean Cocteau's Beauty and the Beast and (arguably) Peter Jackson's The Lord of the Rings: The Fellowship of the Ring, there are very, very few real classics to boast of (before you start firing off angry e-mails, realize I'm only talking about live-action movies here - animated movies are an entirely different cauldron of newts). So it was with no small amount of anticipation that fantasy fans awaited Ridley Scott's Legend in 1985. Having conquered science fiction with Alien and Blade Runner, it seemed that Scott was just the kind of visionary needed to jump-start the genre. Well... that didn't happen. But even though Legend was not well received, the anticipation didn't die. Word quickly spread that American audiences had seen only a compromised version of the film, severely cut and saddled with a completely new music score by Tangerine Dream. Only in Europe could you see the original version, with a score by Jerry Goldsmith that, rumor had it, ranked with Scott's best work. It didn't take long for Euro-Legend to turn into the Holy Grail of fantasy films. Legend had become a legend.
In one of the best corporate decisions a studio has ever made, Universal has released both versions of Legend on a splendid new two-disc DVD, allowing audiences to decide for themselves which version is better. Both have their champions but, for me, it's no contest. The director's cut is hands down the superior film. When I first saw Legend theatrically, I was deeply disappointed. Primed by Scott's prior two films, and publicity photos that focused on Tim Curry in Rob Bottin's amazing makeup as Darkness, I was more than a little let down to discover that Legend was basically a junior high girl's spiral notebook cover sprung to life, complete with unicorns, dancing fairies, glitter and magic pixies. This was not what I had in mind. Watching it again for this review, I found that I could swallow some of the treacle a bit more easily. Even so, I had some big problems with the film that I simply couldn't put my finger on until I watched the director's cut.
The first difference between the two is the elimination of a text piece that, in the American version, basically tells you the entire story. It's a subtle change, one that I haven't seen commented on much, but it makes all the difference. Next, you'll notice that Darkness doesn't fully reveal himself in the director's cut until the famous scene in which he steps through the mirror to meet Lily (Mia Sara). In the American version, we get a pretty good look at him almost immediately. Obviously, the thinking was that since the publicity relied so heavily on this character, and they weren't trying to keep his look a secret, they should exploit it as much as possible. This rationale doesn't take into account the dramatic importance of a character's entrance. The director's cut has more mystery and more menace. Only in this version does the mirror scene have its full dramatic impact.
And then there's the music issue. Jerry Goldsmith has crafted some of the greatest scores in movie history, but I don't think I'd go so far as to say that this is one of his best. However, it's certainly more appropriate. I don't dislike Tangerine Dream. In fact, I think their music for William Friedkin's underrated Sorcerer is a truly great electronic film score. But in this case, it marries the movie to the 1980's. And the awful pop ballads that end the movie will make you take back every bad thing you ever said about Limahl's title tune for The NeverEnding Story. Goldsmith's score is romantic and timeless. It does a better job selling the audience on the reality of the images. In the director's cut, Goldsmith's score makes you believe you're seeing unicorns. The Tangerine Dream score makes you believe you're seeing a couple of very pretty horses with horns glued to their heads.
For all its improvements, the director's cut of Legend does not solve every problem. The biggest flaw with the movie is indicated by its bland title. Scott and screenwriter William Hjortsberg might just as well have called their movie Generic Fairy Tale. This is an extremely simple story of Good vs. Evil (or Light vs. Darkness if you prefer). It's a terrific movie to look at. In fact, this might be Ridley Scott's most beautiful looking film and that's really saying something. But we aren't given much reason to care. And sure, the movie hits most of the main totems of a classic fairy tale. But it misses one big one. There's no real moral to this story. Don't get me wrong here - I don't believe every movie must have a moral. Far from it. But the best fairy tales, from the Brothers Grimm on down, all have some little lesson to them. If there's a lesson to be learned here, I can't find it since, by story's end, we're right back where we started.
As for the DVD itself, this is generally a very nice looking disc, though not without problems. The director's cut looks considerably better than the U.S. version. The American release suffers from a softer image and a bit of artifacting, resulting from cramming the entire thing onto a disc with a boatload of extras. The director's cut is much cleaner, with lovely, vibrant colors. The red of Darkness' skin is quite something. But this is a very dark movie, particularly in the second half. Details get washed out of the darkest shots with alarming regularity. At it's worst, you can simply be looking at a muddy black screen in which you can kind of see something moving around. There's also some distracting edge enhancement here and there, which keep this transfer well below reference quality. As for the sound, the director's cut is again given preferential treatment with DTS 5.1, Dolby Digital 5.1, and 2.0 Dolby surround tracks. The DTS track is best, with Curry's sonically enhanced bass voice rumbling tremendously through your speakers. By contrast, the Dolby Digital track is a bit weaker, with surround sound in the rear speakers coming off as somewhat anemic. The U.S. version boasts only a 2.0 Dolby Surround track, which is considerably weaker than anything on the first disc.
Of all the hyperbolic brand names studios have given to their sundry DVD lines (New Line's Infinifilm, Buena Vista's Vista Series, etc.), none have been greeted with as much scorn as Universal's Ultimate Editions. The name implies that the disc will be the be-all and end-all for a particular title. You'll never have to buy another version of a title once you get the Ultimate Edition. Of course, most of us were probably never planning on buying another version of Patch Adams anyway, making an Ultimate Edition kind of pointless. But with Legend, Universal finally nails the concept (thanks, in no small measure, to the efforts of DVD producer Charles de Lauzirika). First off, J.M. Kenny's documentary Creating a Myth: The Memories of Legend covers the movie's tumultuous history in detail, interviewing Scott and Hjortsberg, actors Tim Curry, Mia Sara, Alice Playten, the late Billy Barty, Cork Hubbert and Robert Picardo (Tom Cruise is conspicuous in his absence, but I'm told they DID try to get him), makeup man Rob Bottin, producer Arnon Milchan, and a score of others connected with the film. It's an outstanding making-of piece. Scott's commentary on the director's cut is also terrific. It's better than his track for Hannibal, partly because this was a more difficult (and therefore, more interesting) movie to shoot. Scott generally avoids repeating material covered in the documentary and reveals a number of effects and camera tricks, at least one of which amazed me in its simplicity.
Other material includes the complete Tangerine Dream score on an isolated music track. There's nothing similar for the Jerry Goldsmith score, alas, but the Tangerine Dream track wins points for including complete, uninterrupted tracks, as well as a number of alternate cues not used in the film. A long-lost alternate opening is interesting, even though it was understandably cut, and the extended Fairie Dance sequence is reconstructed using the original soundtrack, storyboards and still photos. Three other sequences are given the storyboard treatment, revealing some interesting moments that were never shot due to budget considerations. There's also the usual publicity related material: two trailers, four TV spots, photo galleries (including continuity Polaroids taken on set), and Bryan Ferry's music video for Is Your Love Strong Enough, a song which I don't recall being even close to a hit but it's nice that it's here for completists. Finally, the second disc includes a Script-to-Scene DVD-ROM feature. This is noteworthy in that the disc includes both the shooting script as well as Hjortsberg's original draft. Considering the number of people in the documentary who praise that first script as being amongst the best, most poetic screenplays they'd ever read, it's only fitting that it be included on the disc.
Even in its best, most complete form, Legend remains a flawed movie that will not please everybody. However, it has enough going for it that even the most jaded and cynical viewer should find at least something to enjoy. If nothing else, Legend is a demo disc for the good old days of pre-CGI effects. This is a movie with a unique and, dare I say, magical look. A big factor in the success of that look is the fact that everything you see on screen is real, from the mammoth sets to the extraordinary makeup creations. CGI would rob a movie like Legend of much of its character. Whether or not you totally buy into the story, Legend is a visual feast with a few individual moments that approach the level of sophistication that Scott and Hjortsberg aimed for. And this DVD - truly an ultimate edition - is a wonderful way to experience it.
Tom Cruise stars in this visually stunning fantasy adventure in which pure good and evil battle to the death amidst spectacular surroundings. Set in a timeless mythical forest inhabited by faeries, goblins, unicorns and mortals, this fantastic story has Tom Cruise, a mystical forest dweller, chosen by fate to undertake a heroic quest. He must save a beautiful princess, Mia Sara, and defeat the demonic Lord of Darkness (Tim Curry), or the world will be plunged into a never-ending ice age. Co-starring Billy Barty and Alice Playten and directed by Ridley Scott, famed for his remarkable settings and unparalleled imagery, the incredibly realized tale is the stuff movie legends are made of.
The phrase “visually stunning” on the back of a movie case immediately raises the eyebrow of suspicion (sort of like the words “seductive” or “steamy”). Every title I’ve come across that touts its “amazing imagery” so prominently always seems to do so at the heavy expense of interesting story. Obviously, I make mention of it for a reason: such is the case with Ridley Scott’s 1985 fantasy effort, Legend. No matter how much I wish I could tell our readers differently, the fact remains that yes, the story line behind Legend really is as simple as the blurb makes it out to be. There isn’t a single twist, not one solitary turn, no wrinkly in the storyline where the ultimate outcome can fall under even the shadow of a doubt (in fantasy movies, good invariably triumphs over evil on a long enough timeline; the trick is getting the audience to forget that for a few minutes). In three viewings of two different cuts of the movie, I found absolutely nothing of note to justify the time spent watching it, at least for anyone less than die hard in their fandom. It takes more than well-done unicorns and a cloven-toed Tim Curry to keep me interested.
The problems with the story stem mainly from the flimsy script (by William Hjortsberg), as one might expect. The featurettes in the extras package will give the viewer some insight into the conceptualization stages of the script, a process that sounds like it developed in between bong-hits at a Magic the Gathering game. Basically, Scott wanted a script with “the fastest steeds” and a villain named “Darkness,” and basically, that’s all he ended up with. The other characters have almost no discernable depth or flair whatsoever. Jack, some strange guy who hangs around in the woods doing lord knows what, is supposed to be in love with Princess Lili (though the device of her being a princess is completely wasted). The problem is that these two characters seem so infantile that they come off as sexless children, and the effect completely undermines his love for her. Cruise spends the movie either trembling in fear or gazing in mouth-agape astonishment, delivering his lines so flatly, you’d have though George Lucas was at the helm. Sara reduces Lili to doleful stares and a British accent from the Kevin Costner school. That’s just the MAIN characters.
Peripheral characters fall into two main categories. The first is “unbelievably annoying.” This category includes the goblins who never seem the least bit menacing, the two dwarf-like creatures who run with Jack’s posse for comic relief, and the utterly confusing fairy, who has a strange secret (that might have to do with how she gets her hair to look that way). The other category is “unsettlingly strange,” and only one character can reside here: Thorngump. He’s apparently sort of a wood nymph who runs around in oak leave underroos, and its implied that he has some sort of powers or dominion over the forest. Gump (as his friends call him) is so odd because the guy playing him, David Bennet, reminded me too much of one of the kids from that Simpsons movie, “The Bloodening.” I hope that’s shepherd’s pie in his knickers.
The script also seems saddled with somewhat of an identity crisis. At times, the characters speak in rhymes, which would have been an unorthodox, and thereby at least superficially interesting, device to use throughout the movie. Instead, these characters seem to speak in metered rhyme only when it strikes them to, which makes it distracting and almost silly. Can there be any real threat from a ten year old (who’s actually eighteen) half nude boy with elf ears rasping “Squawk squawk, no more talk”? It was laughable, not menacing. Worse than those poetic moments are spots in the dialogue that actually take the viewer OUT of the time and place, the cardinal sin of the period piece film. Why are goblins talking about “encouraging initiative” and using the phrase “adios, amigo”? These lines are not only entirely superfluous; they’re jarringly incongruous. They’re poor efforts at unnecessary comic relief.
The “amazing imagery” that the back of the box promises is lost on me. The only thing I found visually stunning was the amount of junk that Scott found a way to cram into every single scene. Scott will lay some of the blame for the film’s lukewarm commercial success at the feet of the movie being “too much,” too much score, too much visual, too many things going on in every frame. A good movie doesn’t rely on the background to take the focus off of its characters, which is the mistake Legend makes. The sets are intricately detailed and enormous, but they don’t ever approach looking “real” enough to get the viewer into the realm. In fact, parts of this scenery are downright gaudy. Too much time was spent on the look of this film, and there aren’t enough action sequences or engaging character exchanges to keep this movie from being…well, boring.
Legend isn’t all bad, of course. Besides Mia Sara (albeit a disturbingly young Mia Sara) in a Goth-queen outfit, there’s the undeniably enjoyable and decadently over-the-top performance turned in by a completely unrecognizable Tim Curry. As the film’s only charismatic character, Darkness, Curry really sinks his fake fangs into the few scenes he gets. He absolutely commands the screen, enough that I found myself almost rooting for him (an effect no doubt aided by the fact that the Darkness’ enemies are entirely irritating). Curry’s performance makes every line Darkness has the only lines anyone cares to remember from this film. I just wish there were more of Darkness and less of the goblins.
The default argument about movies like these, when they’re criticized, seems to be that we just don’t “get it.” We just don’t “get” the realm of fantasy, we don’t “get” the magic and wonder of it all. I beg to differ; I think I “get” fantasy. I think Harry Potter can qualify as fantasy, with its roots in magic and witchcraft, and a world that doesn’t exist, and I completely enjoyed that movie. I am a huge fan of the first three Star Wars films, all of which can arguably be said to count more as fantasy than as science fiction. I could even see positives in below average efforts like Dragonheart, or take guilty pleasures from the ever-watchable Beastmaster. I’m not even going to mention LotR. What I don’t get is why fantasy movies have this built in excuse that critics or viewers don’t “understand” the movie. A bad movie is just a bad movie, that’s all. Legend, I hate to say, is just a bad movie. In fact, I found Legend even less enjoyable than Willow. I admire its ambition, but the execution falls painfully flat, thanks to having too much running time and not enough script.
Video:
Both the director’s cut on disc one and the original US theatrical release on disc two are presented in a 2.35:1 anamorphic widescreen, but strangely, they are not the same in terms of prevailing quality. Any problems that this new DVD version has are far more pronounced on the shorter US version than on the director’s cut, which would lead one to believe that Scott really pushed for Universal to put some cash into a digital restoration effort for his vision of this film.
Now, I know that Legend is aiming for a very whimsical, storybook visual style, and to that end, it’s understandable that the picture be somewhat soft-focus. At times, this effect is spectacularly effective, like the moments where sunshine literally streams over the virginal princess as she encounters the unicorn. Those moments, alas, are few and far between; much of the movie takes place in the dismal forest night, or in the dank halls of Darkness. This soft focus, coupled with some limited black levels, contributes to generally poor shadow detail, notable early on in chapter one, and again in chapter nine. In the daytime, Scott seems to try to cram so much ‘stuff’ into the frame that the ‘fantasy look’ can make the background looks like a multi-colored mess. The film’s immense palette is uniformly well rendered when not hampered by poor black depth or stylistic color ringing (as in the princess’s dress having a bit of a halo). The director’s cut is pleasantly free of compression artifacts, and print damage seems to have been kept to a minimum. I was impressed with the fact that unlike The Last of the Mohicans DC, the newly added footage seems blended perfectly with the old.
Very few Legend fans will likely watch the original version as it is, because the European cut is what they’ve been asking for. Those that do are getting the video shaft (and wait until you hear about the audio options). The original theatrical version, and noticed that the picture just isn’t as ‘sharp.’ The best way I could describe it is that it just looks “old,” and I don’t mean “timeless.” I mean it looks tired; the colors seem more washed out, the picture has a bit of a grain layer to certain spots…it’s just a bit of an improvement over the VHS versions. On the digital authoring side, it’s got more than a few compression artifacts (mainly black flecks), which may be a result of putting all of the extras on this disc. Neither version had any sort of detectable edge enhancement.
Main menus on both discs are animated, and this score represents an average of the two versions separate video ratings.
Audio:
Universal offers a number of audio-related incentives to the viewer who’d rather watch the longer director’s cut contained on disc one. First, it’s the only version that restores Jerry Goldsmith’s original score for the film. Fans of this movie have been clamoring for this score for quite some time now, and honestly, I’m not exactly sure why. It’s not as if this is a musical masterpiece, and it’s far from “glorious,” as Scott’s liner notes describe it. Goldsmith has done some of my favorite scores (most notably Rudy), but the way this score has been referred to, you’d think someone uncovered Beethoven’s Tenth. Perhaps the hype made out of its restoration put my expectations at an unreasonable level, though. It struck me as overblown in most spots, melodramatic and aurally grating. Still, it is better than the thematically incongruous electroni-crap Tangerine Dream version, which is preserved on disc two of this set. The other audio incentive: disc two contains a pair of six-channel mixes, one a Dolby Digital 5.1, the other an excellent DTS track.
Afforded the opportunity to do a side-by-side comparison of the two tracks, once again DTS comes out the clear winner. The subtler noises that the track uses in the rear channels to create the forest environment, ambient sounds like birds chirping or voice echoing are far more distinct and pronounced. Soundpans, underused though they may be, such as the fairy buzzing around Jack, or the spread of ominous thunder, are seamlessly executed, an accomplishment because of the source material. Overall localization work is outstanding, particularly when it comes to the voice of Darkness ubiquitous and enveloping whenever present. It’s through Darkness that the subwoofer finds most of its activity, backing up his voice and his footsteps. The standard 5.1 track isn’t bad per se (in fact it would be a 3.75 - 4.0 on its own), but the sounds have (as usual) less presence, less distinction, and the soundpans are just a tad choppy. Either way, both tracks are vastly superior to the 2.0 track on disc two. I doubt many fans will be watching disc two anyway, so that’s somewhat immaterial. The only true shortcoming of the two mixes is that they don’t really push the limits of sonic imagery, a product of sound engineering work done prior to the advent of six-channel home theater capability.
For the masochist in all of us, disc two features the isolated Tangerine Dream score. The real quandary: is this movie better without the insipid dialogue, if one has to endure the awful score instead? Universal has also included English closed captions and French subtitles.
Extras:
When it comes to studios “subdividing” their catalogues into Special Editions, Limited Editions, Collector’s Editions or Super Special Limited Collector’s Director’s Cut Editions, Universal’s “Ultimate Edition” line has been perhaps more frustrating than most. The extras material has almost always been limited to extended promotional stuff for pending sequels, as was the case with American Pie UE or The Mummy UE. If there’s one overwhelming positive thing to say about the Ultimate Edition of Legend, it’s this: the bonus material is easily the best of that particular small bunch. I know, I know…bold words, putting this ahead of such vaunted fan favorites like Meet Joe Black UE, Notting Hill: UE and Patch Adams: UE, but I’m all about making bold statements. Legend is absolutely bursting out of its fancy clear plastic case. (Aside: I’m going to need reassurance that someone at Universal lost their job over the green light given to Patch Adams UE. Please tell me this person no longer has any decision making power over what forms of entertainment go to market.)
Disc one, the digitally restored, DTS-sporting longer version, has but a single supplement, but it’s an important one: a full length director’s commentary, by none other than Ridley Scott. Scott, a director on whom I am overwhelmingly ambivalent (if that’s possible), seems less aloof on this track as I have always imagined him. He contributes a lot of behind-the-scenes stories, and explains at times what is actually going on in front of us. Most of the time, this narration becomes annoying, but on this particular title, I found it interesting mainly due to the fact that so much of the movie is so sort of ‘scattered.’ Fans of the film will be extremely happy to hear Ridley’s comments, and people (like myself) who don’t quite get the appeal of this movie will enjoy his anecdotes and remembrances.
On disc two, the extras are the real star. First and foremost is a brand new, fifty-two minute retrospective documentary, featuring everyone involved in the film except Tom Cruise. Fans of the film will absolutely revel in the sheer volume of stories and behind-the-scenes details that this documentary reveals, from sources ranging from Scott to Mia Sara to Tim Curry to Billy Barty. As one might expect, some of the folks involved have a tendency to overstate the accomplishment of Legend. Special effects supervisor Rob Bottin (yes, I’m naming names!) calls this script “one of the most amazing scripts ever written” and “at least as good as Lord of the Rings.” That’s why he is the special effects supervisor and not “The script supervisor.” Everything from the evolution of the script (an anecdote that really explains a lot about how this movie feels so frail from a plot standpoint) to the hasty re-cut and re-scoring this movie received after disastrous test screenings has been included in some from or another. The most interesting details are the ones about how Scott and co. burnt down the 007 Stage in England. It shouldn’t have come as a surprise; sounded to me like they constructed the most flammable set in the history of movies. Trees made entirely of styrofoam, covered in a fine mist of shredded paper, don’t exactly mix well with a propane powered bonfire.
The next section contains a pair of lost scenes. Shouldn’t the be called “newly discovered sequences,” as they’ve obviously been found and only one of them can actually count as a ‘scene?’ That one, the “Four Goblin Alternate Opening,” apparently found in a vault on a videotape somewhere, is entirely unproduced, devoid of music or effects. This alternate opening, which depicts Darkness as a far less charismatic “phantom,” runs about ten minutes and takes far too long to set the premise. The second sequence, “Faerie Dance,” is limited to a mix of storyboards and accompanying audio (as all original footage was lost). It’s an absolute blessing that this footage was lost, because as much as I disliked the movie, this particularly goofy sounding sequence would have cost it another half point. Here, in the extras package, it actually counts as a positive.
From here, things become a little more pedestrian. The new Ultimate Edition of Legend also contains an extensive selection of storyboards, for three separate sequences (one of which was not filmed). The two that remain in the film are “Lili and the Unicorns” (seventy-five drawings running about thirteen minutes on its own) and “The Downfall of Darkness” (sixty drawings running ten minutes). Both of these sequences could really have done with some background music, or a side-by-side comparison, seeing as they both remained in the movie in some capacity. Watching silent pencil drawings in a slideshow gets a little dry in a hurry. The third sequence, “Jack’s Challenge,” was never filmed because it was considered to be cost prohibitive, features a two headed giant with a toothache. This sequence runs VERY long at a whopping one hundred and sixty one drawings.
Getting away from the navigation-heavy extras for a few minutes, we’re treated to a pair of trailers, both running ninety seconds, with the only ostensible difference being one is labeled “domestic” and one “international.” Speaking of advertising material, there are also four television commercials, all of the thirty second variety. Universal has also assembled three different photo galleries for this two disc set. There’s a gallery of “publicity” (42 pictures), an “Images of Legend” section (72 pictures), and a particularly boring section of “continuity polaroids” (73 shots).
Perhaps the worst extra yet to grace one of Universal’s “Ultimate Editions” is the god-awful Bryan Ferry Music video “Is Your Love Strong Enough.” Songs don’t get much more “Eighties Rock Ballad Cheesy” than this one. It lasts an eternal five minutes, and made me wish a thunderstorm would put out my power. In the text-based sections of bonus material (everyone’s favorite), the viewer can read ten pages of Production notes and a section of Cast and crew biographies totaling eighteen pages. That’s it, that’s your ultimate edition of Legend. Sheer volume is impressive, but for my taste, it contains far too many ‘click through’ sections to really go crazy over.
Overall:
Maybe it’s true what they say, maybe I just don’t “get” this movie. I’m not a twenty-sided-dice sort of guy, I have never had a single hit point in my life, never cast a spell, and I didn’t have a nickname like “Lord Goofhammer” (or whatever the guy in the next dorm at college called himself). Still, it does have a devoted following, and that following is getting a truly great deal when it comes to this DVD. At a reasonable price of under $20 through many e-tailers, the Ultimate Edition of Legend is replete with extra material, including the long-awaited fully restored director’s cut with Jerry Goldsmith score, a well-done DTS mix, and the best looking picture that we’ll find on this film. If you’re already sure you like the movie itself, this is an easy purchase. The rest of us will only be thankful that Lord of the Rings avoided being the next Legend, and we’re better off waiting until that hits our beloved format.
Stars: Tom Cruise, Mia Sara, Tim Curry, David Bennet, Alice Playten, Billy Barty, Cork Hubbert
Director: Ridley Scott
Audio: Dolby Surround (Theatrical), Dolby Digital 5.1, DTS 5.1, Dolby Surround (Director’s Cut)
Video: Anamorphic Widescreen 2.35:1
Studio: Universal
Features: See Review
Length: 90 Minutes (Theatrical), 114 Minutes (Director’s Cut)
Release Date: May 21, 2002
“What is light without dark?”
Film *** (Both Versions)
Up until the recent Lord of the Rings, it seemed as if the fantasy movie genre had been lost for good, that is if you forget to include the disastrous Dungeons and Dragons a couple of years back. It was during the mid 80s that Hollywood made and endless array of adventure movies such as Krull, Willow, and The Princess Bride. Films of this type were set in either medieval times or generic mythical underworlds. Ridley Scott’s Legend is definitely a movie that takes place in the latter. This is a pure guilty pleasure as far as I can see, filled left and right with endless fantasy jargon about goblins and unicorns and ultimate darkness. It sounds as if I’m panning the film in that regard, but it’s directorScott’s sharp and atmospheric look of the film that saves it from being anything of a mess.
The movie tells of a long, long time ago, when the earth was ruled by no less than that of the unicorns and the endless battle between light and darkness. Earth itself is a sylvan place, filled with flowers and little glades and grassy clearings - but also with dread swamps and moldy fens. Young lovers can kiss for an afternoon in a bath of sunshine, but fearsome storms come up suddenly and lash the land with their fury. A race of evil little druids lives in the woods, and they spread mischief wherever they venture. Their favorite pastime is frightening the unicorns.
In caverns far beneath the earth, a brutal prince named simply Darkness (Tim Curry) plots to take over the universe by way of blotting the sun and rule forever with the entire world engulfed in absolute gloom. Enter Princess Lili (Mia Sara), the heiress to the throne who has more in her heart for the land and the creatures than life in the kingdom. The man of her dreams is the heroic Jack (Tom Cruise), a defender of the earth’s creatures who vows to put an end to the powers of darkness and return the world back to normal. Unexpectedly, however, Lili is suddenly lured into a supernatural underworld controlled by Darkness, and is trapped in the prince’s lairs, and Jack vows to rescue her.
For Tom Cruise, this was the last film he did before his breakout picture Top Gun, which coincidentally was directed by Ridley’s brother, Tony Scott. Watching the film, you simply can’t believe that you’re watching one of today’s biggest movie stars performing at such a young age. True to say that this will never go down as one of Cruise’s strongest performances, but with a film of this scale and scope, a tremendous acting job isn’t much required from him, or anyone for that matter. It’s Tim Curry, however, who steals the show with his memorable performance as Darkness. Curry, who’s long been known for his countless villainous portrayals is completely unrecognizable thanks to make up artist Rob Bottin’s jaw dropping work. I think when looking at the character of Darkness how painful and excruciating it must have been for Curry to sit in the chair and have make up applied on, because it certainly looks as if it took long to get it all on. In the history of make up effects, Legend is nothing short of a breakthrough.
This is simply a well put together adventure, filled with endless beauty and atmosphere. Credit must go in Ridley Scott’s direction, because he is simply a master at bringing larger than life canvases to the screen. It’s not at the level of his other films Alien and Blade Runner, but it’s satisfactory enough.
Video:
Director’s Cut ****
Theatrical ***
I’m sure that many fans of this film are anticipating this disc simply because, as far as I can tell, it will finally be available in widescreen. This 2 Disc Ultimate Edition offers both the original 90 minute cut of the film, as well as the new director’s cut, with 24 minutes of restored footage seen internationally, but not in the states. Of the two versions, it’s the director’s cut version that fares much better in comparison in terms of video quality. This release was delayed numerous times, but it does look as though Universal took their time in ensuring that fans of the movie would get their money’s worth in terms of picture perfect quality. The director’s cut is virtually flawless, with no image flaws whatsoever. The theatrical version, while a mostly strong presentation, does encounter a few instances of grain and softness about midway through the movie.
Audio:
Director’s Cut ****
Theatrical **1/2
Again, with the new Director’s Cut version of the movie, Universal took their time in restoring this 1985 adventure with a furious sound that would rival that of a transfer of a fairly recent movie. Fired up with a 5.1 audio mix, the sound is consistently alive and all around with a perfected natural sense of the surroundings of the film. The director’s cut contains a new never before heard musical score by Jerry Goldsmith, whose score was replaced in the theatrical version by the synthesized sounds of Tangerine Dream. While the Director’s Cut soars in this department, the theatrical version suffers in comparison based solely on the fact that only a 2.0 channel mix is offered, while the Director’s Cut contains both a 5.1 Digital mix and a DTS 5.1 channel as well.
Features ****
Universal hasn’t resorted to an Ultimate Edition double disc in quite some time, and Legend certainly deserves title, because it’s one of the most superbly loaded discs the studio has ever put out. In addition to including the extended director’s cut, which is an extra bonus for sure, the 2 disc set includes a feature length commentary by Ridley Scott, who continues his knack for informative commentary following Gladiator and Hannibal.
Disc 2 contains much more goodies, including a lengthy documentary titled “Creating a Myth”, which includes interviews with cast and crew members who reflect on the making of the film. Those expecting an interview with Mr. Cruise will sorely be deprived, as he is nowhere to be seen in this area. Also included is an isolated score by Tangerine Dream, a gallery of deleted scenes, Bryan Ferry’s music video for the song “Is Your Love Strong Enough?”, photo galleries, 2 theatrical trailers, 4 TV spots, and a DVD-Rom feature.
Summary:
Legend may forever be something of an acquired taste, but if you’re an admirer of Ridley Scott’s work, this one very much deserves a look at. It’s one of the more extravagant looking films I’ve had the pleasure of seeing lately."
"Legend: Ultimate Edition
Ridley Scott's fantasy epic finally arrives on a packed two-disc set. Our multi-page review.
May 01, 2002 - Here's a DVD with a bit of history. Originally due for release quite a while ago, Ridley Scott's Legend has been a mythical DVD on the top of many DVD collector's list. Not only because a very good version of the movie doesn't exist right now, but also because this DVD edition promised the original cut of the film that includes a Jerry Goldsmith score.
This two-disc set contains the Director's Cut on the first disc complete with a scene-specific audio commentary by Ridley Scott and Dolby Digital 5.1 and DTS soundtracks, while disc two is fully packed with the theatrical cut of the film, an isolated score track, featurettes, and much more.
The Movie
Legend is basically a children's storybook brought to life on the big screen, with a huge budget and Ridley Scott behind the camera. The Lord of Darkness (Tim Curry who is barely recognizable under layers of makeup) captures a pure princess (Mia Sara), and a forest dweller (Tom Cruise) must embark on a quest to save her.
Even after all of these years, Legend still is visually impressive. The movie was made well before the advent of CGI effects, and using the huge James Bond soundstages in the UK for the elaborate sets, the movie really looks like a storybook painting brought to life.
The forest scenes are full of texture with small particles floating around in every shot, then snow later. The early scenes in the forest are some of the most impressive, and all of it was shot live on a huge soundstage. Later in the film it gets a bit darker and the lighting is excellent as well with the only source of light being the hot orange light of fire.
In the original theatrical cut, there were some abrupt edits that caused some scenes to not make much sense and made some of the transitions a little jarring. This new director's cut fixes all of that with about twenty-four minutes of footage added in.
While there are bits and pieces of new scenes added (such as more footage with the Unicorns), the majority of the changes flesh out the movie. They fix those abrupt edits in the original cut; make the film flow better, and overall make this Director's Cut the definitive edition of the film. It's like comparing an unabridged novel to an abridged one. You still get the same story in both cases, but one is just a little fuller.
There really shouldn't be any large fan separation on which version is better. This isn't like the Blade Runner situation as the original theatrical cut had many problems that almost everyone agreed on that are now fixed in the director's cut.
Legend has a very simple story, but that's probably part of it's charm. But, like another childhood favorite of many (Willow), Legend is an either love it or hate it film. Myself, despite the simple story, I enjoy the movie if only as a visually stunning piece of film back before CGI invaded movies, and this director's cut is even better.
8 out of 10
The Video
Both versions of the film feature 2.35:1 anamorphic widescreen transfers, and in the case of the Director's Cut, the film has never looked better. Ever.
Honestly, the clarity of the transfer and the richness of the colors make some scenes (especially close-ups) look as if they were filmed just a few months ago as opposed to seventeen years ago. There's hardly any edge enhancement in the picture, and compression artifacts are completely absent.
The theatrical cut, while appearing better than ever on the DVD, doesn't feature the same level of clarity and color balance that the Director's Cut does. But since you won't really be watching it much it doesn't matter too much. At least it's anamorphic.
8 out of 10
The Audio
Most of the time when an old mono or stereo soundtrack is remixed to Dolby Digital 5.1 or DTS it sounds a bit artificial. Not so here.
The Director's Cut features both Dolby and DTS 5.1 mixes, and while there isn't a huge difference between the two tracks, they both feature surprisingly good use of the surrounds and LFE with no distortion or "artificial sounding" effects added in.
On the other hand, the Theatrical Cut simply features a Dolby Digital 2.0 track, so if you decide to watch that version it would be ProLogic time.
8 out of 10
The Extras
Disc One of the set hold the Director's Cut as well as a feature-length commentary track by Ridley Scott. Now, you can listen to this track normally, or you can jump to a specific chapter in the commentary via it's own scene selection menus.
I really like Ridley Scott commentaries. He tends to ramble a bit here and there while recounting conversations he had in the past, but it draws you into the track where he also gets pretty technical explaining how certain shots were done as well as camera techniques that were used to create some of live effects.
He also talks a lot about the cast, including the boy who played the main elf in the movie who had a German accent, but a studio exec demanded it changed because he said the movie couldn't have a "Nazi elf". He then comments on how he wishes that that original dialog track were still around just to see how it would compare to the existing one.
The score issue is also addressed in a couple parts of the commentary with Ridley mentioning how the Jerry Goldsmith score was closer to what he wanted to the film and how it should have stayed in the US release of the movie.
Moving on to disc two, we find a horde of great extras in addition to the film's US Theatrical Cut that also includes an isolated Tangerine Dream score.
"Creating a Myth: The Making of Legend" is an newly produced featurette that runs for nearly an hour and features interviews with nearly everyone involved with the movie with the exception of Tom Cruise. The featurette covers everything related to the production and includes some very, very, rare behind the scenes footage and photos sprinkled throughout the special. It's excellent.
"Lost Scenes" includes two: an alternate opening that was actually completed as well as the lost Fairy Dance sequence. The latter is shown via the original audio track, still photos, and storyboards. It was one sequence that fans of the movie always heard about it, and although the video doesn't exist, at least it's on the disc in some form.
The Storyboards section contains artwork for three sequences: "Lily and the Unicorns", "Jack's Challenge", and "Downfall of Darkness". You then get both the US and International Theatrical trailers shown full screen, four TV spots, three photo galleries (Publicity Photographs, Images of Legend, and Continuity Polaroids), the Brain Ferry "Is Your Love Strong Enough" music video, and a DVD ROM script-to-screen.
As the packaging claims, this really is the "Ultimate" edition of Legend. Both cuts of the film, both lost scenes, commentary, and an excellent documentary. Highly recommended.
10 out of 10
-- Jeremy Conrad
The Movie
The Director's Cut fleshes out the original film, filling in the gaps where the editing was jarring. It's the definitive version of the movie. 8
The Video
While the Theatrical Cut's video isn't anything to be impressed with, the Director's Cut transfer is excellent. 8
The Audio
Dolby Digital and DTS mixes on the Director's Cut are very good. Theatrical Cut is stuck with Dolby 2.0 8
The Extras
An excellent commentary, and equally excellent documentary, lost scenes, storyboards, the script, and more.10
Legend is a fantastic story of good vs. evil. Jack (Tom Cruise) must save mankind from the purest of evil, Darkness (Tim Curry). Darkness has a master plan to plunge the world into a dark and frozen wasteland for all eternity. Light is his destroyer and goodness is the weapon that keeps him at bay. But Darkness and his Goblin kin use the pure of heart to bid their evil doings. Jack and his lovely Princess Lily (Mia Sara) unknowingly deliver the last two Unicorns into the hands of a Goblin band waiting for a chance to steal the Alicorns (a Unicorn's horn) and use their power for their masters dark biddings. But all is not lost, one of the Unicorns escapes the Goblins poisoned darts and remains alive to keeping the world in check. Half in the light of day and half in the darkness of night, nature is locked in a frozen state of despair and Jack is the only hope of saving the Unicorn's and conquering Darkness. Along the way he is aided by the folk of the forest, the Elves and ever elusive Fairies. As the story progresses we see Jack, a young boy forced into the trials of the real world where he must make decisions that carry deadly consequences which transform him into a man fighting for not only his own life but the life of the woman he loves and of course the lives of all mankind. Lily is also forced to deal with her exposure to this new unknown world in her own ways. She's a fancy young princess who enjoys the spoils of wealth only to be wooed by Darkness with temptation and wicked desires. Her education in these matters are both seductive and deadly. Thus fully drawing her into the web of darkness in body and soul... How does the story end you ask? Watch the movie and find out!
DVD features
The features of this two disk set are what Legend fan's have been dreaming about for years. Until now this movie has only been available on VHS. And as we all know, VHS is a waste of time and effort for the true movie goer (I just had to say that). Until now, what we have seen is a bastardized version of what was and still is an excellent cult classic. In fact, the following of this film is so great, it has been the number one requested movie from Universal Pictures. Yep, that's what I said, the number one most requested film they've produced. Anyway, the new DVD has the original release of the movie never seen here in the United States. It is the uncut European version with the original Jerry Goldsmith soundtrack. The soundtrack by the way is excellent. What was released here in the U.S. was a hacked up edited version with a new soundtrack created by Tangerine Dream. While the Tangerine Dream soundtrack was ok and upbeat, the Goldsmith music was fantastic and it brought a surreal feeling of doom and darkness to the story. The DVD set also has the original U.S. release on the other disk if you must see that one too. There are also several other goodies on the discs that are a collectors treasure chest.
Analysis
While this film was shot in the mid 80's when the Star Wars craze was still buzzing strong and everything was seen as futuristic and visually amazing, Legend took a hard right turn to make a clean break from the money making Science Fiction mindset. It plunged us into a world of pure fantasy film making as visually stunning as any new special effects filled sci-fi thriller. The world we saw on the screen was anything but bright and clean (even in space). It was just the opposite, it was dark and dirty. It was almost real but at the same time totally unreal. The entire movie was shot on a sound stage in the UK, twice. Once for normal shooting then partially again later due to a fire that wiped out the entire building.
The story is great in the way that we see how the innocence of youth gives way to the reality of the world around us. It's a slap in the face for both leading characters and in truth the movie didn't have one lead. Both Cruise and Sara balanced their parts equally with Curry tipping the scales one way then another... I think the youth of the actors lent itself very well to the story line too. In a short time (the length of the movie) we saw both main characters "grow up". The acting was pretty good on the part of Cruise and Sara while Curry did an excellent job as Darkness. He almost drew you into his servitude with just his presence in a given scene. The make-up was second to none considering the era the film was made and the visual impact was just as incredible. It won a Best Cinematography Award and was nominated for several others including an Oscar. I'm also a fan of Ridley Scott's work so it's no surprise that this movie turned out so good.
All considered, this being a fantasy film and totally unrealistic, it was just that. So unreal that it just holds your attention until the very end.
Final Thoughts
If you've seen this movie on tape or at the theatre in the past and thought it was worth the time to watch it, it's well worth your time to see it again in it's uncut presentation. Or if you've never seen it before, see it in it's un-cut format. You'll love it if you're a fantasy film lover. It's a flat out all around good entertaining movie.
Editors Note: If your thirst for Legend isn't quenched yet, visit the excellent Legend FAQ
Rating: 10
May 26th, 2002
Once again, thanks to Matthew Wright for letting me know about the following five LEGEND DVD Reviews.
Legend: Ultimate Edition (1985)
"As long as they roam the Earth, nothing can harm the pure of heart." - Jack (Tom Cruise)
Review By: Rich Rosell
Stars: Tom Cruise, Tim Curry, Mia Sara
Other Stars: Billy Barty, Cork Hubbert, David Bennent, Alice Playten, Annabelle Lanyon, Robert Picardo
Director: Ridley Scott
Manufacturer: Ritek
MPAA Rating: PG for (mild violence)
Run Time: 01h:53m:18s
Release Date: May 21, 2002
Genre: fantasy
DVD Review
Throngs of fantasy fans (myself among them) have been eagerly counting the days for this highly-touted, 2-disc release of Ridley Scott's lush 1985 epic, Legend. Scott (Alien, Bladerunner, Hannibal, Gladiator, Black Hawk Down) is certainly an accomplished filmmaker, and one who knows his way around dark and fantastic storylines. But his sole foray into the world of sword and sorcery came to be remembered more for its harshly edited U.S. release, and its out-of-place synth score (from Tangerine Dream) than anything else. While it is true that the visual scope of Legend is magnificent, and that it delivers one of filmdom's most striking villains, the problem that the faithful fanbase has encounter over time is that word leaked out that what we had been seeing in theaters in the States—where it flopped—was not the only version, and that a far different experience, closer to what director Scott had originally imagined, existed. In 1985, filmgoers in Europe were treated to an expanded version of Scott's vision, running nearly thirty more minutes and, most of all, it included a Jerry Goldsmith orchestral score in place of the bubbly electronics. Of course, this was pre-Internet, so much of the buzz came in slow trickles, popping up here and there in grubby film magazines, especially after it was eventually released on VHS (see, it was a looong time ago).
We all know that memories have a way of sometimes tweaking the past, making things seem better than they really were. So the question is, now that Universal has dished out this beautifully-packaged "ultimate edition" that features the infamous European director's cut (as well as the original U.S. version), does Legend hold up? Was the hubbub about the longer version really true? I hadn't seen Legend in quite a few years (my VHS copy long since gone), so I was as curious as anyone.
Much of the criticism of the film was that it was all eye candy, with no real narrative substance; that's not a completely incorrect statement. Scott had created a remarkable visual experience, but for many that was what made the film so memorable. The good news is that when you can compare the two releases, it seems as if the expanded version is an entirely new film (a much better one at that) due, I believe, in no small part to the inclusion of Goldsmith's score.
But it's not just the score that is thematically different; I urge you to compare the drastically different opening sequences, and how the U.S. release featured a lengthy text scroll and full shots of the villain Darkness, while the director's cut opts for a more subtle approach, ditching the text scroll, featuring only the clawed hand of Darkness. This version of the opening alone changes the whole tone of the film, and signifies the inherent difference between the two releases.
As with all good fantasy, the film is set in an indeterminable time period, when magic, faeries and sprites filled the forests, and all-consuming evil could be behind the next tree. The plot itself is remarkably spartan, and concerns the lovely Princess Lily (Mia Sara) and her flowery prose-filled relationship with the mysterious forest dweller Jack (a post-Risky Business Tom Cruise). Unknown to them, the vile lord Darkness (Tim Curry buried beneath a mountain of latex) has demanded the execution of a sacred unicorn, which brings about complete and permanent ice-covered darkness across the land so that he can rule.
True to the genre, Legend becomes a quest and redemption film, as both Jack and Lily embark on separate adventures to ultimately undo what has been done, each blaming themselves for what has occurred. Jack is aided by an odd quartet, including the elvish Gump (David Bennent), dwarves Brown Tom (Cork Hubbert) and Screwball (Billy Barty), and the Tinkerbell-esque Oona (Annabelle Lanyon). Lily has to go it alone, and her involvement largely mirrors Cocteau's Beauty and the Beast, as she finds herself deep within the lair of Darkness, enveloped in a strange mixture of sexual tension and danger.
It's not the somewhat traditional fantasy plot that makes this such an enjoyable film. It is the vision that Scott has managed to bring to the screen that makes it really something to experience. Peter Jackson's The Lord of the Rings has set the new standard for serious and grim fantasy, but Legend cannot be far behind. It is a soft-focus world of deep, dark forests, where the air is constantly filled with rose petals and cottonwood seeds, and every locale looks like a Maxfield Parrish painting on acid. I can't remember when I've seen rendered as beautiful a depiction of a fantasy environment, especially one created in the pre-CG universe of 1985; the elaborate forest set is still as visually stunning today as it was then.
A good fantasy is populated with eccentric and strange creatures, and this is one of the only areas of the film where it reads slightly dated. Made before CG effects, Rob Bottin's makeup effects for Tim Curry's devil incarnate, Darkness, are incredible (with his massive curved horns and cloven hooves), and the evil goblin Blix and dwarves Brown Tom and Screwball look like heavily costumed actors under latex appliances. Even the elven ears of Gump sometimes appeared glaringly artificial. If a film like this were to be made today, these characters would likely be computer-generated, but Scott was forced to rely strictly on in-camera shots, and the result is still, for the most part, a success.
The director's cut is the preferred viewing choice here, and the roughly thirty extra minutes allow Scott to give his already leisurely-paced tale more time to meander along its way. This 2-disc set is also a great example of how a proper score can breath new life into a film, and more importantly, how the wrong score and studio-forced editing can be a tragic mistake.
Rating for Style: A+
Rating for Substance: B+
Image Transfer
Aspect Ratio 2.35:1 - Widescreen
Original Aspect Ratio yes
Anamorphic yes
Image Transfer Review: Universal has issued Legend with sharp, pristine 2.35:1 anamorphic widescreen transfers for each version of the film. This was not intended to be a bright tapestry, but rather a soft palette of muted colors, and that effect is captured perfectly. The forest scenes are where this transfer excels, and they still stand as some of the most visually lush sequences in the film. Some of the interiors in Darkness' lair have inconsistent black levels, resulting in some muddy shadowing. A bit of grain, and some minor compression issues are evident, but not excessive. Beautiful.
Image Transfer Grade: A-
Audio Transfer
Audio Transfer Review: The director's cut features DTS, 5.1, and 2.0 surround, while the U.S. release gets a solitary 2.0 mix; that alone should tell you which version is the anchor of this 2-disc set. Even with the DTS and 5.1 tracks, the surround mix is never too aggressive, so if you're looking for a solid reference disc, this ain't it. Dialogue is mixed well though, and anchored solidly in the center, ringed by sound effects and Goldsmith's generally superb score. The 2.0 track on the U.S. release sounds downright tinny when compared to the fullness of the DTS and 5.1 options on the director's cut.
Over analysis of an audio mix is often a heated source of debate among DVD buffs, but this is an impressive sounding disc (disc one, that is), considering the age of the film.
Audio Transfer Grade: B+
Disc Extras
Animated menu with music
Scene Access with 18 cues and remote access
Subtitles/Captions in English, Spanish, French with remote access
Cast and Crew Biographies
2 Original Trailer(s)
4 TV Spots/Teasers
2 Deleted Scenes
Screenplay
Production Notes
Isolated Music Score
1 Documentaries
Storyboard
1 Feature commentary by Ridley Scott
Weblink/DVD-ROM MaterialPackaging: Unknown
Picture Disc
2 Discs
2-Sided disc(s)
Layers: dual
Extra Extras:
1. Bryan Ferry music video
2. Photo galleries
Extras Review: This 2-disc set is packaged in a clear tri-fold Amaray case that smudges kind of easily, and doesn't have a slot for the included foldout booklet. The extras are plentiful, though it's the commentary and the brand new, fifty-minute feature that make this DVD worthwhile.
Disc One:
Commentary
In addition to the director's cut of Legend, the only extra on the first disc is another honest and revealing full-length scene-specific Ridley Scott commentary. A well-spoken Scott waxes nostalgic on the project, and though the first twenty minutes or so replicate much of the info found on disc two's documentary, it is still loaded with not only detailed production and casting insights (the benefits on CG vs. non-CG), but with a level of deeper discussion on some of the influences and origins for the screenplay. There is much discussion on the creation of the elaborate forest set, as well as the large-scale fire that occurred shortly before filming ended. Some of the factoids are cool movie nerd fodder, such as that Jack's shiny chain mail was made out of beaten beer bottle tops or that the actor who played Gump (David Bennent) spoke with such a heavy German accent that it was feared he would sound too much like a Nazi (he was later overdubbed by Alice Playten, who portrayed Blix). It's clear by listening to this track that Scott put a lot into this film, and that its subsequent theatrical failure was more than a bit startling to him.
Disc Two:
U.S. Theatrical Version (01h:29m:15s)
Up until now, this was the only version available, including the infamous Tangerine Dream score, which now seems horribly dated. This is the version that's been in my memory banks since 1985, but now the juxtaposition of the synth score with the fantasy elements looks like a poorly conceived experiment. With a ninety-minute runtime designed for short attention spans, the U.S. release still retains the powerful visuals, despite a clunky opening sequence, but when compared to the more expansive director's cut, now seems choppy and uneven. While it is also presented in 2.35:1, it is only packaged with a 2.0 surround mix, and it's clear that it is the redheaded stepchild of the two versions, relegated to an already crowded supplemental disc. The image transfer is clean, but somehow a bit less vibrant than the director's cut.
Creating a Myth: The Memories of Legend (50m:51s)
This feature, created specifically for this DVD release, gathers up comments and recollections from just about every principle member of the production crew and cast (except for Tom Cruise, of course). The comments and anecdotes cover the gamut from story creation through production and makeup design, and the impact of the massive studio fire at the James Bond stage where Legend was filmed. Mia Sara (still adorably radiant, by the way) fesses up to having had a major crush on Ridley Scott, and there is some surprisingly good comedic moments when makeup effects wiz Rob Bottin's admits which rock and roll star was the influence for the character of Blix. On the more serious side, Ridley Scott openly confesses that the Tangerine Dream score "was the wrong thing to do". Excellent stuff, and extremely enjoyable.
Isolated Music Score
The loved-or-hated Tangerine Dream score, which includes some alternate cues not used in the final film, is available in an isolated form, though sadly only in 2.0 surround. Not their strongest film score by far (I prefer Miracle Mile), and certainly not completely representative of their overall work. I only wish the Jerry Goldsmith score on the director's cut had been given the same treatment.
Lost Scenes
A pair of "lost" scenes are collected here, and unfortunately neither is exceptionally memorable, but for Legend-aholics they will be appreciated:
Alternate Opening: Four Goblins (10m:35s)
This much ballyhooed lost footage was discovered in March 2001, and features a different opening sequence than was used in either the U.S. or director's cuts, in which Blix, Pox, and Blunder are joined by a fourth goblin, Tic. The rough (emphasis on "rough") print is non-anamorphic (though it is in 2.35:1), and it is in really bad shape. The scene runs far too long, and is more of a curiosity than anything else.
The Faerie Dance (02m:45s) Editor Terry Rawlings preserved the audio portion of a scene featuring a wild dance done by Gump, Brown Tom, Screwball and Oona, when they first encounter Jack after the world has become ice-covered. The original footage has long since been destroyed, but here it is somewhat recreated via storyboards and production stills.
Storyboards
If you like storyboards, you're in luck. Three scenes are displayed in rather detailed storyboard format, and they are:
Lily and the Unicorn
Jack's Challenge
Downfall of Darkness
Trailers
There are two theatrical trailers (U.S. and international), and both are presented in grainy full frame. The pair are virtually identical, and completely fail to capture any of the film's beauty.
TV Spots
Four television spots reinforce how poorly this film was marketed. No wonder it flopped theatrically.
Photo Galleries
There are three automated photo galleries of color and black & white images, each covering a distinct, self-explanatory area:
Publicity Photographs (02m:45s)
Images of Legend (04m:49s)
Continuity Polaroids (04m:49s)
The continuity group is easily the most interesting and unusual of the batch.
Bryan Ferry's Is Your Love Strong Enough? Music Video
One of rock's most debonair hipsters croons his way through a weak Avalon-ish song used over the credits of the U.S. release. Oddly enough, the over-produced music video features a lot footage from Legend's climax, which seems to be just another nail in the shoddy marketing coffin from back in 1985.
The rest of the extras include some fairly copious production notes, subtitles (English, French, Spanish), bios and a DVD-ROM feature that allows access to script-to-screen comparisons.
Extras Grade: A
Final Comments
Ridley Scott's fantasy epic finally comes to DVD as it was meant to be seen, and I can honestly say it was well worth the wait. This is not a razzle-dazzle action film, but instead it is a fairly slow-moving visual treat, and that fact may be a bit unsettling for some of today's quick-edit weaned viewers. Universal has kindly offered both versions of the film here, as well as an insightful director's commentary and a fine mix of other extras, including a new fifty-minute "making of" piece.
Highly recommended.
Legend
Universal
1985 / Color / 2:35 anamorphic 16:9 / 114/90 min. / Ultimate Edition
Starring Tom Cruise, Mia Sara, Tim Curry, David Bennent, Alice Playten, Billy Barty, Robert Picardo
Cinematography Alex Thomson
Production Design Leslie Dilley, Assheton Gorton
Makeup and Special Effects Rob Bottin, Nick Allder
Film Editor Terry Rawlings
Original Music Jerry Goldsmith, Tangerine Dream
Written by William Hjortsberg
Produced by Tim Hampton and Arnon Milchan
Directed by Ridley Scott
Reviewed by Glenn Erickson
A disconcerting flop on its first release, Legend is known more for being split into two versions, than for any particular success. It was cut by three reels in America and hastily rescored, and a lot of US fans have patiently waited to see the original version. Good, bad or indifferent, Ridley Scott's fairytale movie has been produced to perfection on this Ultimate Edition DVD - which includes both an Unreleased Director's version and the American cut, and a handsome selection of extras.
Synopsis:
In a magical land, young Princess Lily (Mia Sara) journeys into a deep forest to see friends but mostly visit with 'green man' Jack, a woods-dwelling young adventurer (Tom Cruise). He dares to show her the world's most treasured sight, a pair of beautiful white Unicorns. She makes the mistake of touching one, compromising its innocence and violating a rule of the universe. Meanwhile, an imposing red-horned demon called The Lord of Darkness (Tim Curry) has dispatched several sub-demons, notably the hideous Blix (Alice Playten) to destroy these last unicorns by cutting off their horns ... which will plunge the world into eternal night. As the Lord of Darkness cannot exist in the daylight, this will set him free to rule the world. Blix de-horns one unicorn, and the forest instantly becomes a forbidding land of ice and snow. Lily is captured by the demons, and to save her Jack must thread a maze of menaces, like the formidable creature Meg Mucklebones (Robert Picardo). On his side are but a few forest elves and pixies.
For his fourth film, Ridley Scott chose a fairytale story and wrapped it in his own brand of all-enveloping production detail. The incredibly beautiful forest in the film, like everything else we see, is an uncanny reproduction on a vast scale.
Scott wanted to make fairy tale with a simple story, and that's what he got. For incident, it's fairly exciting, and his classical, visually-oriented direction is also a plus. But it simply doesn't seem very original or fresh. Without simply accepting the Hero and the Heroine at face value, there aren't any characters we can identify with.
There's zero context given for these two: we know little about them except that they are young, inexperienced, and in her case, perhaps a bit spoiled. Since Jack doesn't simply avoid disaster by telling Lily WHY she shouldn't touch the Unicorns, we feel from the start that the story is highly rigged. They're innocent sweethearts victimized by a world with 'rules' that serve as a trap. Adam and Eve ate the apple, but they knew all along they were trangressing. There's nothing negative about Lily's actions and neither Lily or Jack's actions indicate character flaws that might give the story some meaning. But in this fairy tale, the price is terrible just the same.
So most of Legend sees Lily and a very young and callow Tom Cruise fighting and suffering over a problem which seems totally arbitrary. Their entanglements vary in levels of excitement and interest, but since we are missing vital info on Lily (Where's her castle? Why hasn't anyone come to look for her?) it's hard to understand exactly what she's going through. The tendency is to see both of the leads as easy identification figures for the vapid, clueless teens who are the presumed audience. True, Mia Sara's fresh smile is a joy to see, and Cruise is well-matched to his athletic and determined character.
Likewise, the baddies are interesting to a degree, but lack oomph. Blix, the number-one demon functionary, is so exaggerated a ghoul that he looks like he was drawn by a ten year old: long pointy nose, long pointy ears, etc. He and the rest of his cohorts do have that icky but authentic look of the creatures from Häxan, but just don't generate much impact. Their voices don't conjure up anything particularly menacing either, and they just seem too generic, as if they'd wandered in from Masters of the Universe. De-horning the Unicorn is unpleasant, but in their other actions, the demons don't seem all that potent or threatening.
On the other hand, a couple of Jack's helpers are more interesting, particularly the little elf and the sprite-like creature. This pair could easily have wandered out of the Dieterle A Midsummer Night's Dream. The Billy Barty character would be better if he were used for less comedic effect.
Part of the problem is the dialogue script, which is just too perfunctory. Tim Curry's Darkness is quite a technical achievement for Rob Bottin, with his colossal horns and huge cloven hooves, but he talks too damn much. He blabs on and on and says very little, except to let everyone know loud and clear that sunlight will destroy him. He stretches and makes faces and otherwise shows off, but he never seems particularly Evil, invulnerable, or even very smart.
Are these quibbles as quibbly as they seem? There are obviously lots of people for whom Legend was a powerful experience. There is considerable grandeur in the sheer look of the film. As with Blade Runner, it's difficult to find fault with Ridley Scott's 'world', created this time by a large team of British experts. The forest is alive with light and leaves and crawling with animals and birds. The air is full of sunny bugs flitting back and forth. The light has texture and depth, and there really is the dense feeling of an ancient wooded enclave.
Darkness'es caverns and fiery hearth are equally rich. Curious details straight out of Cocteau's Beauty and the Beast, such as a stop-motion animated carved statue on a table top, are there to be found wherever you turn. As a production, it's phenomenal
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Universal's DVD of Legend is a fancy product in a fancy package. A clear wraparound case enfolds two discs. One has the American 90 minute cut, with the replacement score by Tangerine Dream. It is accompanied by a lengthy and well-researched docu that has the full involvement of Ridley Scott; two lost scenes; a recreation of the faerie dance with storyboards and stills; the isolated Tangerine Dream; storyboards; Brian Ferry music video; photos, trailers, tv spots, yadda yadda on and on. It's quite the completist's dream.
The second disc (disc one, actually) is Ridley Scott's original 114 minute cut, before being cut in the UK. It has the original Jerry Goldsmith score intact. The only extra here is a full-length Scott commentary.
Savant watched the long version and sampled the shorter American recut. The long version is a beautiful sight to behold. Even when I was tiring of the story, I was never bored by the look of the film itself. And the Goldsmith music was so stunning that the hastily cobbled Tangerine Dream replacement couldn't compete. I compared Lily's 'dance of death' with the hooded creature who possesses (?) her, on both versions. The dance is much shorter in the American version, with the music making a big difference. The Goldsmith track creates some wonderful dark magic, while the synth score just sits there. If you're already a fan of the US version, and aren't totally locked into the Tangerine Dream music, this will blow you away.
The American cut looks grainy and has less detail than the Director's version, which is okay by me as I don't intend to watch it again except to compare. According to the IMDB, 70mm prints were originally struck for this show. I don't know whether it would have made a difference, but it's a shame that the director got cold feet and decided to undermine his first cut - I think the original would have been better received here. The only thing I remember about the release was being told that it had been cut down, with its symphonic score replaced with a synth rock track ... and I tuned out entirely.
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On a scale of Excellent, Good, Fair, and Poor,
Legend the Ultimate Edition rates:
Movie: Good
Video: Excellent
Sound: Excellent
Supplements: Plenty, see above.
Packaging: Oddball see-through three-way folding case
Reviewed: May 9, 2002
Universal-MSRP $24.98
Anamorphic 2.35:1 widescreen
English DTS 5.1, English Dolby Digital 5.1
English, Spanish, French subtitles, closed-captioned
114 mins., 90 mins., color, 1986
Rated PG
Picture A, Sound A+, Content A, Extras A
Intro-This Ridley Scott film finally comes to DVD with an Ultimate Edition, two discs with two different versions of the film. On disc one, we are treated to the longer, European version, with a score by Jerry Goldsmith, and disc two contains the US version with score by Tangerine Dream. Scott declares in the insert that the longer version is more what he was his vision was for the film and now , through the magic of DVD we get both films in one terrific package.
Story-Lily (Mia Sara) ,a princess, is in love with Jack(Tom Cruise), who is a boy of the woodlands. One day Jack decides to show Lily something special; he knows where the magical unicorns play. Neither know that goblins, have been sent by the evil Darkness (Tim Curry) to capture the unicorn's horn and make the woodlands forever dark. At the moment when Jack tries to retrieve Lily's ring, the goblins strike, creating an instant winter in the forest. Lily is captured by the goblins and taken to the evil one's lair and Jack is recruited by fairies and elves to find her and combat the Darkness.
So begins this magical, visually stunning fairy tale of good vs. evil. Scott's direction is superb and the entire film is very dreamlike in composition and script. While the forest scenes, created entirely at Pinewood Studios in England, are beautiful, Scott's vision of darkness is equally dark and foreboding as can be imagined.
Picture-An excellent anamorphic transfer is provided by Universal for both versions of the film. The forest scenes are striking, as Scott introduced hundreds of live animals into the set. Makeup for some of the cast was critical and it is outstanding. Tim Curry went through five hours of makeup everyday for his role as Darkness. Alice Playten, as the head goblin, also went through many hours of preparation, which resulted in a goblin resembling Keith Richard.
Sound-A DTS 5.1 soundtrack is provided, along with Dolby 5.1 digital and is powerful for the longer version of the film on disc one. Dolby surround is standard for the shorter, U.S. version. Obviously, Scott prefers the longer version as a more definitive film, along with the Jerry Goldsmith score. The music in this film is of critical importance as it helps set the atmosphere for the film.
Extras-Commentary is provided for the longer version of the film by Ridley Scott. Other extras are delegated to disc two including an hour long feature "Creating A Myth: The Making Of Legend". Cast interviews include Mia Sara, Alice Playten, Cork Hubbert, and Billy Barty. Scott also is interviewed extensively for this feature, along with producers and story writers. Other extras include an isolated score by Tangerine Dream, two lost scenes; an original rough cut of an alternative opening sequence, and also a fairy dance, which was cut from the film. No existing footage remains of this but the soundtrack survived and the scene is played out by still photos and storyboard sketches of the original concept. Storyboard features include "Lily and The Unicorns", "Jack's Challenge" and "Downfall of Darkness". A music video of Brian Ferry's "Is Your Love Strong Enough?" is another highlight, plus three photo galleries, two theatrical trailers, four television spots and cast and filmmaker bios. The DVD-ROM feature is a script to scene comparison. These extras should keep you busy for weeks.
Summary-After a long wait, "Legend " finally arrives with the personal touch of director Scott. This Ultimate Edition is sure to satisfy fans of the fantasy film and has been worth the wait.
1985 proved to be an odd year for directors who worked at Universal Pictures. On one hand, one Universal release - Out of Africa - nabbed the Oscar for Best Picture. Another - Back to the Future - took home the crown as the year’s box office champion.
On the other hand, a couple of directors had a rough time with their Universal projects in 1985. The most extreme problems befell Terry Gilliam and Brazil. He experienced legendary battles with studio chiefs over the tone and length of the flick, among other areas; it remains one of the most famous feuds in movie history.
While it doesn’t appear that Ridley Scott went through Gilliam’s level of angst as he prepared his fantasy flick Legend, what ended up on screen in theaters wasn’t what he originally intended. After an unsuccessful test screening, the director apparently lost some faith in his vision and chopped up the film accordingly. What originally lasted about two hours dropped down to the 90-minute version seen on US screens. In addition, American audiences heard a different score than the one created by noted composer Jerry Goldsmith; they got a cheesy synthesizer offering from Tangerine Dream. (Oddly enough, Arnon Milchan produced both Legend and Brazil.)
In 2002, it’s hard to imagine that a film directed by Ridley Scott and starring Tom Cruise would tank at the box office, but that’s exactly what happened to Legend. The movie died a quick death, though it went on to gain a passionate following via video. Because of those fans, Legend apparently has been one of the most-requested titles that awaited DVD release. In fact, the disc was delayed repeatedly before we finally got it in our hands.
In an intriguing move, this “Ultimate Edition” DVD includes both the original 90-minute US theatrical release and Scott’s 114-minute “director’s cut”. At last fans would be able to see the film as intended, complete with Goldsmith’s famous score.
Speaking for myself, I never saw Legend - at least not all of it. I recall that I tried to watch it on video back in the Eighties but just couldn’t sit through it. The movie seemed so silly and fruity that it possessed no interest for me; I think I made it through the first 15 minutes or so and then bailed on it.
When I watched the director’s cut, I did manage to last until the very end, but it remained a tough process. More than a decade and a half after my original attempt, it seems that I still feel the same about Legend: this is one bad movie.
Legend places us in a land of faeries and magic. There forest-dweller Jack (Cruise) loves Princess Lily (Mia Sara) and desires to spend all his time with her. Although it’s against the rules, he tries to impress her when he shows her the romping grounds of the unicorns, the most sacred and special of creatures. Against Jack’s warnings, Lily approaches and touches one of the unicorns, an action that messes up the world badly. Concurrently, Blix (Alice Playten), the henchman of Darkness (Tim Curry), slays one of the unicorns and steals its horn. This places the world mostly in darkness, which is what Darkness desires. He needs to kill the other unicorn to finish the job, and Jack wants to stop this.
In addition, Darkness wants to make Lily his wife and let the two of them rule the eternal night. Of course, this doesn’t sit well with Jack, and he gets the assistance of a bunch of magical little folk as they attempt to save the princess and prevent the victory of Darkness.
Though not exactly an original story, I have no great quibble with the plot. After all, Star Wars featured a similarly Spartan basis for its action, and it worked awfully well. However, Legend is no Star Wars. Legend didn’t even live up to the fairly mediocre level of 1988’s Willow, a similar flick.
On the positive side, I must admit that Legend looks great. Clearly a lot of work went into the production design, and the results are excellent. The forest and other settings seem lush and lively, and they create a fine environment for the action.
Too bad that the events are so uninteresting. Like I mentioned, there’s nothing particularly wrong with the story itself; it’s the execution that seems problematic. For one, Legend seems to be poorly cast. Prior to Legend, Cruise made a name for himself as a cocky teen in 1983’s Risky Business. That tone of charming arrogance served him well through his career, and it would help him during his next big hit, 1986’s Top Gun. However, he was totally wrong for the part of Jack. None of his personality could emerge through this bland and semi-impotent “hero”, as Jack felt lost among the magic and wonder.
Curry does acceptably well as Darkness, though he’s totally unrecognizable beneath many layers of makeup. Sara seems less satisfying as Lily. While she appears pretty enough for the part, she lacks much charm. Frankly, I could never understand why Jack loved her so much; she came across like a total bitch much of the time. In her first movie, Sara couldn’t find any depth or heart to the role, so Lily remains a beautiful but unlikable character.
In the same vein as C-3PO and R2-D2, Legend’s sidekicks mainly exist to provide comic relief. They do so poorly. Virtually all of the movie’s gags fall flat, especially when executed by Blix and his buddies. The jokes dispersed by the various demons seem silly and pointless, and they serve to ruin any dark mood that the film might establish.
Honestly, Scott seemed like the wrong director for this project. He works better within a gritty environment, and the light airiness seen much of the time during Legend didn’t suit him. Granted, even the darker bits still fall flat, but they seem less laughable than the parts where Lily plays Snow White and croons to the forest creatures.
Actually, though I thought the Star Wars parallels seemed strong, it’s clear that Scott wanted Legend to be his version of a Disney animated flick. All of the staple elements are there, but he fails to imbue them with the charm and life seen during Walt’s best creations. Legend feels forced and cutesy much of the time, and the script saddles the actors with some of the worst dialogue I’ve ever heard. In one scene, Blix says to Darkness, “She’s just a female - she has no power!” To that the boss retorts, “Only the power of creation!” How did such a terrible exchange ever make it past the first rewrite?
Unfortunately, Legend offers many more groaners where that came from, and it seems like a very forced and unnatural piece. It tries so hard to dazzle us with magic and wonder that it never achieves any of its goals. The characters become buried under elaborate sets and costumes and display little positive personality, while the story can’t overcome the various flaws. Legend offers a pretty experience, but it isn’t one that I enjoyed.
Note: I also suffered through the original US theatrical cut. I’ll discuss that version and the ways it differed from the director’s cut when I get to the DVD’s extras.
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The DVD Grades: Picture A- / Audio B+ (DTS), B (Dolby Digital) / Bonus A-
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Legend appears in an aspect ratio of approximately 2.35:1 on this single-sided, double-layered DVD; the image has been enhanced for 16X9 televisions. Although a few minor concerns popped up, overall this was an excellent transfer that rarely belied its age.
Sharpness seemed solid. At times the movie exhibited a mildly gauzy look, but this appeared intentional and made sense within the fantasy setting. Nonetheless, the picture always remained nicely distinct and accurate, with virtually no intrusive softness. Jagged edges and moiré effects caused no concerns, and I detected no signs of edge enhancement. Print flaws were very minor, especially for an aging film like this. I noticed a few specks and a little light grain at times, but these never caused any problems. Overall, the movie remained nicely clean and fresh.
Colors appeared very strong. The movie utilized a glowing tone that made sense within the fantasy framework, and the various hues came across as rich and vibrant. The colors always looked clear and attractive, and they exhibited no issues like noise or bleeding. Black levels also were deep and dense, and shadow detail seemed appropriately heavy but not excessively opaque. During some of the “ice age” scenes, the movie essentially looked black and white, and the DVD showed fine contrast and delineation. Ultimately, Legend had a couple small problems, but I found it to offer a generally positive presentation.
I felt the same way about the movie’s soundtracks. Legend boasted both Dolby Digital 5.1 and DTS 5.1 mixes. For the most part, they seemed fairly similar, but in the end, I gave the nod to the DTS track. I’ll discuss it initially and then cover the reasons why I thought it appeared superior to the Dolby mix.
The soundfield generally exhibited a forward bias. Within the front channels, the score showed solid stereo separation, while effects created a good sense of atmosphere. Elements appeared appropriately located within that domain, and they blended together nicely. As for the surrounds, they usually stuck with general reinforcement of the front track, but they came to life well when appropriate. For example, the sequence in which Jack chased after Lily’s ring offered clear and logical activity from the rear channels that helped make the scene more effective.
Audio quality appeared erratic but acceptably good for its age. Dialogue came across as reasonably natural and distinct, with no concerns related to intelligibility or edginess. Effects seemed more hit or miss. Some of those elements appeared nicely clear and rich, but others sounded thinner and more dated. For the most part, however, the effects remained fairly accurate and vibrant, though high-end sounds occasionally were a little brittle sounding. Music showed positive fidelity, as Jerry Goldsmith’s score seemed bright and lively. Bass response could sound a bit loose at times, but it appeared pretty rich and deep as a whole. I noticed some light hiss at times. While the soundtrack of Legend won’t dazzle anyone, it stands as a good piece of work for its era.
So how did the DTS track beat the Dolby Digital one? In the usual ways. The DTS version sounded a little richer and more natural, and the elements meshed together more cleanly. It also provided tighter bass response and greater dynamic range; the Dolby mix could seem a little too thin at times. Overall, the differences didn’t seem extreme, but I still gave the nod to the DTS edition.
Virtually all of Universal’s “Ultimate Editions” offered expanded, repackaged versions of already-existing releases such as American Pie and The Mummy. However, Legend breaks that mold, as it gets an Ultimate Edition with its first appearance on DVD. Based on the slew of solid extras found in this set, I can’t imagine we’ll see another version of it anytime soon, for the DVD offers a wealth of materials.
Most of these appear on DVD Two, but the first disc contributes one significant supplement: an audio commentary from director Ridley Scott. He’s a veteran of the format, and that comfort level shows during his running, screen-specific chat. Scott covers a nice range of information, from the origins of the project to various technical concerns and other production issues. He devotes relatively little time to the actors - which doesn’t come as a surprise, given the nature of the film - but he talks about his work with them at times. Scott touches on the alterations made for the release editions, but he also doesn’t get into this issue heavily; I’d like to know more about that process, as I get the feeling it was more controversial than he makes it out to be. Those minor omissions aside, I found this to be a consistently chatty and compelling track that added to my knowledge about the movie.
After this, we move to DVD Two, where we find the majority of the supplements. To start, we locate the entire US theatrical cut of Legend. Presented in anamorphic 2.35:1 with Dolby Surround 2.0 sound, the presentation of the film seemed good, but it didn’t match up with the picture and sound of the director’s cut. Actually, at first I thought they looked pretty similar, but the more I watched the US version, the more defects I detected. The US cut showed muddier blacks, heavier colors - especially when we saw fire - and seemed somewhat softer. I also noticed a few additional print flaws, mainly in the form of speckles. If forced to grade the picture of the US version, I’d probably give it a “B-“.
I found fewer differences between the various soundtracks, but the audio of the US edition did seem less satisfying. For the most part, they offered similar soundfields and quality. However, I found that the US cut seemed a bit less well defined and crisp, and the sound also appeared a little harsher at times. Again, these weren’t enormous variations, but they did occur. I’d award the audio of the US release another “B-“.
As for the content of the US edition, it offered a lot of changes from the director’s cut. I thought it might simply be a shorter version of the latter, but actually, quite a few differences occurred. For example, the US film started with an explanatory text that didn’t appear in the longer version, and it also revealed the image of Darkness much earlier in the flick. Some omissions meant that other parts made less sense. For instance, during the director’s cut, Gump tries to stump Jack with a riddle. This didn’t appear in the US version, which meant that a later line in which Gump mentions riddles had less effect; it didn’t “throw back” to the prior occurrence.
Of course, the two films featured different scores, which also made a big change. During the supplements, we hear discussions of the two sets of music, and people seem careful not to slam the Tangerine Dream score heard on the US version. Well, if they won’t, I will - it’s terrible! The music really dates the film, as it lacks the timeless quality of Goldsmith’s score. In addition, it includes a few New Age tunes during the flick, and those really kill it. Admittedly, I didn’t like the director’s cut, but the US version seemed even less satisfying for a variety of reasons. Nonetheless, I appreciated its inclusion on the DVD, since it’ll please longtime fans of the film.
Next we find a new documentary about the movie. Called Creating the Myth: The Memories of Legend, this 50-minute and 45-second program offers the usual mix of film clips, shots from the set, and interviews with participants. Unfortunately, Tom Cruise declined to appear, but we do hear from director Ridley Scott, writer William “Gatz” Hjortsberg, producer Arnon Milchan, director of photography Alex Thomson, editor Terry Rawlings, production designer Assheton Gorton, makeup effects creator Rob Bottin, set decorator Anne Mollo, stunt coordinator Vic Armstrong, key makeup artist Peter Robb King, former president/COO of the MCA Motion Picture Group Sid Sheinberg, and actors Mia Sara, Tim Curry, Alice Playten, Robert Picardo, Billy Barty, and Cork Hubbert.
My only complain about “Myth” related to the use of behind-the-scenes footage. We see too little of this, as movie snippets and interviews dominate. Nonetheless, the program offers a terrific look at the making of the film. It covers a wealth of topics, from the original script to the creation of the sets to working with the horses to makeup to the fire on the Bond stage to the different versions, and it adds much other material as well. Particularly enjoyable are Hjortsberg’s comments, as he’s consistently funny and informative; his impressions of Scott seem particularly hilarious. Overall, this is a fine documentary that should be compelling ever for folks who don’t like the film.
For those with a high threshold for pain, they can listen to the Isolated Music Score By Tangerine Dream. This includes a mix of elements, as it provides unused music cues as well as the final score. Presented in Dolby Digital 2.0 sound, it doesn’t work any better on its own than it does when integrated with speech and effects, but fans should be happy to have it, I suppose.
More interesting to me are the two Lost Scenes. One of these shows an “Alternate Opening”, and it runs for 10 minutes and 35 seconds. Taken from a video copy of the film, this expands the existing start to the movie as it focuses on the quest of the four goblins, one of whom didn’t make the final cut. Next we get “The Faerie Dance”, a two-minute and 45-second piece. No film footage remains for it, so instead we hear the scene’s audio played over a combination of production photos and storyboards. All I can say is that I’m glad this obnoxious little piece didn’t appear in the finished movie; it looks terrible!
After this we get three sets of Storyboards. One of these - “Lily and the Unicorns” - basically hews to material seen in the finished film, but one of the others - “Jack’s Challenge” - was never shot, and the other - “Downfall of Darkness” - shows an alternate version of existing footage. The areas include between 69 and 159 boards for a total of 300 drawings.
In the Trailers area we see both the US and International promos; they looked very similar to me. We also find four TV Spots for the film and the Music Video for Bryan Ferry’s “Is Your Love Strong Enough”. That clip lasts five minutes and 20 seconds and mostly uses the standard combination of movie snippets and lip-synch shots, though at times it appears to place Ferry in the action. It’s pretty lame.
The Photo Gallery breaks down into three subdomains, all of which appear as running video programs. “Publicity Photos” lasts two minutes and 45 seconds as it presents 40 posed pictures used for promotional purposes. “Images of Legend” takes four minutes and 48 seconds to give us 71 shots from the set, some of which include unused concepts; for example, we see how Darkness would have looked if they’d made Tim Curry wear contact lenses. Lastly, “Continuity Polaroids” also runs four minutes and 48 seconds to display its 71 images, all of which show the actors in different stages to ensure they’d look the same from day to day. I’m not wild about the running video presentation - Disney does still galleries best, as they offer thumbnailed collections - but the material seems interesting.
A few minor pieces complete the DVD. The Production Notes offer a brief but reasonably useful overview of the film’s creation, while Cast and Filmmakers gives us some short biographies. We find listings for Scott as well as actors Cruise, Sara, Curry, David Bennent, Alice Playten, Billy Barty, and Cork Hubbert. These are standard Universal fare: good but unexceptional.
Within the DVD’s booklet, we locate “A Message From Ridley Scott” that discusses the reasons for the creation of the new director’s cut. It also includes the usual chapter listings as well as a chart of the package’s extras.
Finally, for DVD-ROM users, a few addition materials appear. Most significant are the Original Screenplay and the Shooting Script. These can be viewed as you watch the US cut of the film. They’re a cool addition to the package. Finally, the DVD-ROM area includes a few Weblinks. It gives us connections to Universal Home Video, Universal Pictures, Universal Theme Parks, and Universal Studios. You can also sign up for Universal’s DVD Newsletter.
It’s the eternal dilemma for a DVD reviewer. Bad movie, terrific disc - what recommendation do I offer? Make no mistake: Legend is a terrible flick. It shows good visual imagination but wastes those efforts on a bland story that seems poorly executed. However, the DVD itself is a terrific piece of work. It provides very good picture and sound as well as a fine collection of supplements. Ultimately, I can’t fully endorse the DVD simply because I strongly disliked the movie. Nonetheless, fans of Legend should be absolutely delighted that the flick finally got such an excellent DVD release, and those who think it might be their cup of tea are firmly encouraged to give it a look.
DVD Reviewed: Legend: Ultimate Edition
Studio: Universal
Reviewed by: Matt Brighton
Story
One of the more "odd" things about DVD (essentially the next wave of home video) is the fact that there are several movies that are on the format that should be. Naturally, we're missing classic movies (as of this writing, anyway) like Sunset Boulevard, The African Queen and Treasure of the Sierra Madre as well as some more modern movies like Grease, Raiders of the Lost Arc and Star Wars. Now this brings me to Legend. Legend is essentially known to be Tom Cruise's worst movie (along with "Losin' It") and I have to admit that I had never seen it until it arrived on DVD. But Universal has been teasing us for almost a year now, with the title. Will it be a special edition or not? Finally, it became an Ultimate Edition, Universal's "Top of the Line" when it comes to DVD. Legend has achieved cult status, that's for sure. But to me, the movie just isn't very good. Tom Cruise has certainly done better since (both critically and he can obviously have a film make some money) and though Mia Sara had a good thing going with Ferris Bueller's Day Off, I don't think I recall her in anything of note since, but I could be wrong. So Ridley Scott's, who has become "hot" lately with Black Hawk Down and Gladiator Legend is finally on DVD and it certainly looks and sounds better than it ever has. But let's see what all the hoopla has been about.
Legend is a fairy-tale, at least we hope so as unicorns don't wander around much anymore. The two heroes of the film are Jack and Lili (Tom Cruise and Mia Sara respectively). Jack's mission is to save the world from Darkness (both in the literal and physical sense of the word as "Darkness" is the villan played by Tim Curry) and let the sun shine forever. Lili is the woman who he meets and falls in love with. However, Lili is lured to the dark side, literally, and is taken prisoner by a priestess into becoming evil. So what is our hero to do? Take all of the muppet-like creatures and cast them aside, take the sets that are pretty amazing and what it boils down to is a basic struggle between good and evil. Naturally, most every movie in the world has this underlying concept, but it's expressed in its most literal form here. The good, Jack vs. the evil, Darkness.
Now for all of it's faults, Legend is a very good technical movie. Helmed by Ridley Scott, who is known to be quite the perfectionist, the sets are amazing and it's a tribute to the director of Alien and Blade Runner that he can create the suspension of disbelief when he wants to. But I felt the roles were kind of miscast. True, Tom Cruise had only one "hit" under his belt in the form of Risky Business and he had not yet tasted the success of the star that he would become. It would not be a result of this movie, however. Love it or hate it, this fantasy genre will not go away. With the recent Lord of the Rings movies becoming one of the top-grossing movies of all time, it's clear that movies like this paved the way for the ones yet to come. So while all of the elements were in place here, it was maybe the execution that made Legend both the critically bashed yet cult classic that is Legend.
Video
Containing not one, but two cuts of the movie, Legend has the 114 minute "Director's Cut" of the film as well as the United States version of 90 minutes. While I would like to say that these look identical, I would be lying. Both are presented in their original 2.35:1 anamorphic ratio, but the Director's Cut looks better here...in many ways. The Director's Cut is presented on the first of two discs and has nothing else on it, save the commentary by Ridley Scott. Getting the benefit of added space, this version has the "room" to take advantage of the transfer. Black levels are great, edge enhancement is minimal and for the most part it is far superior to how the film has been handled on home video to date.
This brings us to the United States version of the film. Yes, there are two different versions of the film in the set. This cut is only 90 minutes and what we saw here in the states. But, this version has been crammed on the disc with all of the extras, and there are plenty to go around. What's this mean for the quality of the image? It suffers. It's not un-watchable, but when compared with the UK version, this one is inferior. If you're looking for a better cut of the film and a better-looking version of the film, then by all means...go with the Director's Cut.
Audio
Like all of Universal's "Ultimate Edition" line, Legend has both Dolby Digital 5.1 and DTS tracks. As with the video, the Director's Cut gets all of the "benefit" of the audio, while the US version is only a Dolby Digital Surround track. Yet another reason to watch the Director's Cut, I suppose! Now, granted, the film (regardless of which version you choose to watch) is fifteen years old, so it's suitable to understand that the sound won't hold a candle up to the depth of today's soundtracks. It doesn't. While the DTS track on the Director's Cut is superior to the Dolby Digital version, it isn't that much of a difference here. There appear to be some more discrete effects, as is common with DTS/DD discs, but most of the action is limited to the front channels. Scott (Ridley, that is) is known for his use of sound (just look at Black Hawk Down and Gladiator), but for it's time, I'm sure Legend sounded pretty darn good. The US cut of the movie sounds far worse, as the mix is only a Dolby Surround mix. Dialogue is a bit mushy and the effects are almost non-existent. Let's face it, if you want the best audio and video mix, watch the Director's Cut. They almost make it so you have no choice!
Extras
The line of "Ultimate Editions" by Universal is hard to beat. As one of the few studios that consistently put some good extras on their "bare bones" discs, this line of discs raises the bar to an even higher level. True fans of the film might say that the 114 minute Director's Cut and awesome picture and sound would be just fine enough, but we have even more to offer so let's get started. First up is the screen-specific audio commentary from Director Ridley Scott. Scott has offered up plenty of commentaries for his movies and he's pretty good at them. This is no exception. As I noted above, he is very particular and very technical, though his commentary track is very upbeat and full of information about the production, shoot and casting. He's obviously happy that his director's cut is on DVD! A good track, and a must listen for true fans of the film. "Creating a Myth: The Making of Legend" is not your typical "making of" documentary. This is a relatively in-depth look at how the film was made, cast, edited, re-edited and so on. New interviews with the cast and crew (minus Tom Cruise) make for a very interesting documentary that runs almost an hour. Some deleted scenes (entitled "Lost Scenes") which do look bad, but they are presented in a 2.35:1 anamorphic widescreen transfer. An alternate opening sequence, "Four Goblins" is presented as is the "The Faerie Dance". While these don't have much to offer in terms of value to the film, it's nice to have them on this disc.
Some storyboards can be found, three scenes in all and it runs nearly twenty minutes when all is said and done. Some text is also supplied to describe what is actually going on, so that helps. Also included is a still gallery of over 100 shots from the film. Another nice touch, but still...very static. Next up we have a music video "Is your Love Strong Enough" by Bryan Ferry. Let's just say that it's definitely an 80's video! And, as with most all Universal releases, some cast and crew bios are included, production notes and a theatrical trailer. Some DVD-ROM material is also included with two versions of the original screenplay. While fans of Legend will be happy that the DVD is finally here, it might gather dust on my shelf. The DVD is great, don't get me wrong...it's just not my personal cup of tea. Kudos to Universal for their effort though, the Ultimate Edition series is top notch!
LEGEND
GRADE: C+
Disc Grade: A
Reviewed Format: DVD
Rated: PG
Stars: Tom Cruise, Mia Sara, Tim Curry, David Bennent, Alice Playten, Billy Barty
Writer: William Hjortsberg
Director: Ridley Scott
Distributor: Universal Home Video
Original Year of Release: 1985
Retail Price: $24.98
Extras: two-disc set; widescreen anamorphic; Dolby Digital 5.1; DTS; commentary; director’s cut restored version with Jerry Goldsmith's score; original U.S. theatrical version with Tangerine Dream score; documentary; storyboards; lost scenes; original screenplay with comparison to final film feature; isolated music score by Tangerine Dream; music video
DVD Review
LEGEND
A goblin off Ridley Scott’s back
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Dateline: Wednesday, May 22, 2002
By: JEFF BOND, Contributing Editor
With big screen fantasy making a big comeback courtesy of LORD OF THE RINGS, it’s the perfect time to go back and revisit Ridley Scott’s LEGEND, one of the most visually luxuriant, sumptuously scored and, ultimately, most problematic fantasy films ever made. Scott launched this elaborate, Brothers Grimm-style fairy tale after completing THE DUELLISTS, ALIEN and BLADE RUNNER, and he saw LEGEND as the completion of a trilogy of genre films begun with his tremendous artistic (if not financial) successes on the latter two pictures.
Filmed on the massive 007 soundstages in Great Britain, the film was set in a tremendous fairy tale forest completely constructed from scratch, a set so vast that live animals and birds inserted into the environment for filming purposes actually made a home there during the shoot. Scott got Tom Cruise hot off the success of RISKY BUSINESS, makeup effects expert Rob Bottin from THE HOWLING, and technical collaborators from BLADE RUNNER and ALIEN to complete the mix, and embarked on one of the most hotly anticipated films of the decade.
Unfortunately, the final film as seen by U.S. audiences was a hollow fragment of Scott’s original, ambitious vision. After some rough test screenings and at the behest of Universal executive Sid Sheinberg, Scott reduced his original two hour cut of the film to 90 minutes and dumped a beautiful symphonic score by Jerry Goldsmith, replacing it with a work of abstract, vaguely Middle Eastern electronics by Tangerine Dream. The results pleased no one, from Tom Cruise fans who were put off by the vision of their hunky young hero playing a starry-eyed forest sprite, to fans of ALIEN and BLADE RUNNER who were ill-prepared to digest a Ridley Scott film that was essentially designed for children.
European audiences saw something closer to Scott’s original intent and got to hear the Jerry Goldsmith score, but after its initial release LEGEND disappeared and thereafter was seen only in its bowdlerized American version, and then in dreadful pan-and-scan television and video screenings which devastated the film’s one undeniable strength: its stunning widescreen visuals.
A DVD release of LEGEND has been in the works for a long time, and in the years since its release the film has built a small but fervent following that should be overjoyed at the treasures Universal’s DVD release offers. First off there’s a stunning anamorphic transfer of the film, reassembled by Scott into a one hour and fifty four minute director’s cut that gives the story the breathing room that the 90-minute version never offered, plus a rich 5.1 Dolby surround mix of Jerry Goldsmith’s score. Add a full length, indexed commentary from Scott, deleted scenes including the original opening of the film and the fabled “faerie dance” (alas reproduced only with storyboards and photos, although the original audio is heard) sequence, storyboards, photo galleries and continuity polaroids, Tangerine Dream’s score isolated and a DVD-ROM feature that allows you to compare the original script to the completed film, and you’ve got an already generous package. But Universal also throws in the U.S. cut of the film (albeit in a somewhat lesser transfer) and an exhaustive full-length documentary on the picture that should make LEGEND junkies very happy.
The documentary features just about every major player involved in the making of the film, even a brief appearance by Sheinberg himself (who was also involved in a conflict with Terry Gilliam over BRAZIL around the same time LEGEND was released). Alice Playten, who plays the goblin Blix, discusses her initial suggestion to make the creature look like Keith Richards (a suggestion approved by Scott and makeup man Rob Bottin), Scott talks about one of the early screenings in which he states that a few pot-smoking audience members giggling at the action onscreen caused him to second-guess his cut of the film, as well as admitting that the movie’s budget was too low and that the film’s lack of large-scale action hurt its chances at the box office.
Notable by their absence are Tom Cruise (who had one of his only box office bombs with this movie) and Jerry Goldsmith, who has publicly aired his grudge against Ridley Scott for dumping what he believed at the time was his best film score. It falls to actor Robert Picardo (interviewed on one of the standing sets of STAR TREK: VOYAGER) to sing the praises of Goldsmith’s score as well as Scott, who points it out as much as possible in his commentary.
If you haven’t seen LEGEND or disliked it when you did, it’s questionable whether the new DVD is going to turn you around. The poetry of William Hjortsberg’s screenplay is sometimes haunting, more often thuddingly juvenile. And sometimes the universality of the story’s fairy tale themes impinges on other genres: when Tim Curry’s awe-inspiring Darkness character intones, “I feel a presence in the forest… a force I had almost forgotten exists…” it sounds like he’s channeling Darth Vader. Cruise gives his all and you have to admire the trust he put in Scott, but with his teased-out hair and Jolly Green Giant uniform (later on he puts on a suit of armor that looks like a gold lamé miniskirt), the box office superstar has never looked more feminine. And the antics from Playten, Billy Barty and other actors playing goblins and trolls comes off as second rate Sid and Marty Krofft material.
Nevertheless, the film has its assets. Mia Sara (all of fifteen years old when she played the role) makes a convincing turn from an innocent forest princess to a black-lipsticked tramp under Darkness’ influence. Child actor David Bennent of THE TIN DRUM makes a mesmerizing elf, someone who might have stepped out of a Maxfield Parrish painting. Picardo gives a deliciously droll, terrifying performance as Meg Mucklebones, a disgusting, man-eating swamp witch. And best of all is Tim Curry’s overpowering turn as Darkness, a ten-foot tall, demonic satyr in one of the greatest latex makeup get-ups ever put on the screen. When Curry enters the fray midway through the movie LEGEND comes to hair-raising life; on the big screen the presence of this villain could almost drive you under your seat.
Goldsmith’s score is a major asset, painting Scott’s gorgeous forest compositions in a wash of beautiful impressionism and bringing an operatic flourish that the film’s physical set pieces desperately needed (by comparison, the Tangerine Dream score offsets the movie’s treacley sweetness but leaves it feeling flat and unfinished). LEGEND never hits the bullseye of narrative that made LORD OF THE RINGS work, but it still stands well apart from other would-be fantasy epics of the period like KRULL—at least LEGEND tried to do something different instead of redoing STAR WARS without the spaceships.
Director's Cut: 5.0 stars out of 5.0 stars / Theatrical Cut: 4.0 stars out of 5.0 stars
Reviewed by Brian Matherly
Cast: Tom Cruise, Mia Sara, Tim Curry, David Bennent, Alice Playten, Billy Barty, Cork Hubbert, Peter O'Farrell, Kiran Shah, Annabelle Lanyon, Robert Picardo, Tina Martin, Liz Gilbert
Written by: William Hjortsberg
Directed by: Ridley Scott
Running Time (Director's Cut): 114 minutes
Running Time (Theatrical Cut): 89 minutes
MPAA Rating: PG
In the depths of a wondrous fairy tale forest, the evil entity known as Darkness (Tim Curry, in some of the most spectacular make-up ever seen in the history of film) has hatched a plot to steal light from the world and pitch it into eternal night. His plot involves two unicorns who hold the source of light and goodness in their horns, but he isn’t powerful enough to gain the objects of desire on his own. Instead, he relies on the power of innocence, in the form of lovers Lily and Jack (Mia Sara and Tom Cruise), in order to trap and remove the horns from the mythical beasts. When one of the unicorn’s horns is finally removed and the other is captured (along with Lily), the world becomes a bleak winter wasteland that consumes all but a few of the forest’s many residents. In the midst of this dramatic climate shift, Jack realizes that it is up to him (and a few of the local forest fairies) to penetrate Darkness’ lair, rescue his love, and restore order to the world.
Released in 1985 to poor box office and even poorer reviews, Ridley Scott’s fairy tale masterpiece Legend is a film that has become legendary more for the history behind its release than it has for the film itself. One of three major sci-fi/fantasy projects released by Universal in the mid-eighties that was dra
