Without a doubt,
the most outrageous cutting catastrophe that has occurred over the last couple
of years has been John Woo’s Hard Target. Sure, when it was first announced
that Woo would be bringing his two fisted style of action to the US, fans weren’t
too optimistic and few believed his style would survive the East to West transition.
So, was it really that bad? Well, yes!
To put it lightly, it was as if both Universal and the M.P.A.A. repeatedly took
turns kicking Woo in the balls, all the while politely saying, "Welcome to the
good old U S of A!" By the time all the smoke had cleared, it seemed everyone
associated with the film had made their own personal cut (just imagine what
Van Damme's Butt Cut looked like. YIKES!). The only ones who really suffered
where audiences, who were forced to watch a atrociously edited 94 minute print
in August of 1993.
Thankfully, a director's cut did surface. The film runs twenty-two minutes longer
(bringing it up to 116 minutes), with a majority of that time being composed
of nonstop bloodshed. Suffice to say that the director's cut and the R rated
cut are as different as night and day and that the extra minutes make one hell
of a difference. To describe each and every cut would literally fill volumes
(and Tom ain't shelling out that much), so listed below are brief summaries
of all the major action scenes as they appear in the director's cut. Just remember,
all numbers are general, so don't bitch if I miss a bullet or two.
The differences begin as soon as the film commence. The opening "hunt" of Charles
Binder (played by the film's screenwriter, Chuck Pfarrer) is substantially longer
and increasingly cold blooded. After freeing himself from the first arrow that
pinned him to a tree, Binder is shown pulling the shaft out of his shoulder
in agonizing slow motion. Binder then takes several rounds of machine gun fire
in the gut. That is not to say that Binder is a complete softy (as he was portrayed
in the theatrical print). After all, the guy is a Vietnam vet. With the help
of a half empty gasoline can (a reoccurring theme throughout the film), Binder
manages to take out at least one leather clad biker.
We now turn our attention to the little shack on the waterfront. In the R rated
cut, it is just blown up. Well, in this version, Binder just happens to be inside
the thing, looking for safety, as it explodes. Reeling from the blast, Binder
gets up and heads toward the waterfront. This nights hunter, Mr. Lopacki (Bob
Apisa), fires several arrows at Binder. While on the dock, Binder receives a
extra arrow in the ass, which sends him crashing through a chain-link fence.
This extra arrow can clearly be seen in the R rated cut when Binder falls through
the dock, prompting one to scratch their head and wonder how it got there. Unfortunately,
in both versions, Binder sees his final moments in the films first few. An extra
bit of dialogue occurs as Binder's body is pulled from the water. Fouchon's
(Lance Henricksen) right hand man, Van Cleaf (Arnold Vosloo), tells Mr. Lopacki
that he shoots like a buffoon and that next time, he would be charged double.
The next major action scene is the fight that takes place outside the cafe.
This scene really serves no purpose, other than to introduce the character of
Chance Boudreaux (Jean Claude Van Damme) to our heroine Natasha Binder (Yancy
Butler) and for Van Damme to show off a bit. Surprisingly, this scene made it
completely intact. The logic then being: You can kick, punch and pummel the
human body all you want, but once you start blowing holes in 'em, you must be
stopped.
We now move on to the infamous ear scene. It was pretty obvious (even to the
most naive viewer) that Woo’s Reservoir Dogs homage was severely cut.
After being scolded by Fouchon (Lance Henricksen), the sleazy Randall Poe (Eliott
Keener) has the lobe of his right ear cut off by Van Cleaf. As Van Cleaf diligently
cuts away, blood streams down Poe's sweatshirt. After the fleshy stub is cut
off, Fouchon delivers a punch to Poe that sends blood flying across the room.
Poe then admits he has learned his lesson and business resumes as usual, as
Poe begins looking for new game.
The hunting of Elijah Roper (Willie Carpenter) is another case of what you see
is not necessarily what you were supposed to get. After striking the deal in
the railyard, the chase quickly relocates to a cemetery, where Elijah easily
appropriates Mr. Zahnan's gun. Not being one to risk anything, Elijah fires
at least six extra bullets into his stalker. Curiously missing in the director's
cut is a shot of Fouchon, having just killed Mr. Zahnan, throwing the bullet
casing into a mausoleum. I guess Woo knew his criminals weren't stupid. The
chase then heads onto the neon lit streets of New Orleans. After Elijah unsuccessfully
tries to elicit help from bystanders (including a jittery Ted Raimi), he decides
to face his attackers. Big mistake, seeing as they shoot him at least 15 times.
Proving once again that Vietnam vets are no easy kill, Elijah rises to his feet,
faces his attackers once again, and then is shot down in another hail of bullets
(another minimum of 15, here).
After finding out about Elijah's death (and struggling to do some of that acting
stuff), Chance, along with Natasha and rookie female cop Carmine (Kasi Lemmons),
decide to pay Randall Poe a visit. Unfortunately for them, Poe is already preoccupied
in a meeting with Van Cleaf and his trusty shotgun. By the time Van Damme and
company arrive, Poe is doing his best Bud Dwyer impersonation, when they are
suddenly attacked by Van Cleaf and his cronies. The first to go is Carmine.
She takes a couple of more hits of machine gun fire and there is a cool shot
of blood splattering out her back. Using both Poe's car and the police cruiser
as cover, Van Damme grabs Carmine' s gun and decides to take on the badguys
(at least that is what his facial expression suggests). Taking a flying leap
onto the hood of the cruiser, he manages to get a few more rounds into the 4X4
(especially the driver) that is speeding by. Van Damme then takes on a biker
who was nowhere to be seen in the theatrical cut. As the bike speeds towards
he two cars, Chance fires several shots, causing both blood and sparks to fly.
The biker loses control of his vehicle and slams right underneath the cars.
Chance then thumps the other biker in the helmet with his foot (which, come
on folks, is pretty absurd) and grabs one of the bikes (the second bike can
be seen in the R rated cut, hmmmmm, how'd that get there?). He delivers his
macho line and then, with Natasha in tow, heads off into the seemingly deserted
streets of New Orleans.
If you were quick enough to catch it, you'll notice they are chased by a 4X4,
a biker and a four door sedan. So, what ever happened to that sedan? Well, it
definitely shows up in the director' s cut. Before taking out yet another biker
(the "grab the bar" scene), Chance plays a little game of chicken with the mystery
sedan. Firing several rounds into the windshield, Van Damme causes the driver
to swerve, sending the car into a parked car. As with all action films, the
parked car serves as a ramp to send the other one into the air. The sedan tumbles
a couple of times and then explodes (naturally). Chance then disposes of the
aforementioned biker. Interestingly, a shot of sparks flying off the bikes body
is missing in the R rated cut. I guess "sparks" fall right under bloodletting
on the M.P.A.A.'s list of no-nos.
Still being chased by the 4X4, Van Damme heads onto a highway ramp that is under
construction. Gearing up for his second game of chicken, Van Damme drops off
Natasha and then zooms straight towards the 4X4. He does manage to get off a
few extra shots before the bike slams into the 4X4, creating the films best
stunt. (This scene actually got cries of "Yeah right!" and "Bullshit!" from
the audience who probably found the "dynamics" of True Lies captivating).
Kudos go out to that brave stuntman. Alas, the scene is not perfect. If you
slow it down on your VCR, just before the motorcycle and 4X4 collide, you can
clearly see a set of training wheels on the bike. Anyway, for all that destruction,
Fouchon's men still fail to kill the duo of Boudreaux and Binder, which takes
the chase into the bayu.
Van Damme and Butler make their way through the treacherous Louisiana bayu,
setting up a ingenious snake trap (although the obligatory jungle spike-trap
would have been better) and finally reach Uncle Douvee's (Wilford Brimley) humble
abode. Unfortunately for the viewer, here is an extra scene that should have
been left on the cutting room floor. Upon being reunited Douvee and Chance begin
to hop around singing "Alouette". A shot of Louisiana culture or male bonding
at it's worst? Neither. The scene is quite embarrassing, and after watching
Van Damme sing, I'd rather watch him “act.” Gratefully, Fouchon and his men
show up and put a fiery end to this Hee Haw hoedown, with Chance and Uncle Douvee
heading in opposite directions.
The villains, naturally, follow Chance, who leads them to the Mardi Gras graveyard.
It is here that the film really lets loose, giving us a nonstop barrage of death
and destruction.
(Note: If a villain doesn't have a name, then he is referred to by the clothes
he is wearing)
After taking out a couple of bikers (including one with a gas can), Van Damme
decides it is time to take on the big boys. First to go is the Hawaian Shirt
guy. Van Damme sees his reflection in a bikers helmet (so that's why they wear
those things), turns around and then fires a minimum of 30 shots (try counting
it yourself, it's great fun at parties) into the guy before kicking him in the
(helmet-clad) head. As for that biker mentioned earlier, Van Damme spins around
and fires a couple of shots into him, while intoning, “give it a rest, pal.”
Just to keep Van Damme on his toes, Woo has another biker (how many of these
guys are there?) pop up from behind a float. Van Damme actually reloads and
then takes care of the guy. We have now entered video game territory.
Meanwhile, Woo has Douvee and Natasha come into the scene, thinking they can
help good ol’ Chance out in one piece. In a scene very reminiscent of Woo’s
own Hard Boiled, Natasha takes out a thug who makes the fatal mistake
of calling her a "bitch". Here she puts at least 6 rounds into the guy's gut.
At the same time, Van Damme is continuing his one man rampage. In a shot nowhere
to be seen in the R rated cut, Jean Claude just grabs a random bad guy and fires
into him three times. Van Dame then takes to the air (courtesy of a well place
rope) and takes on the Cowboy guy. There is a great shot where the camera is
behind the Cowboy and we are treated to juicy squibs blowing out his back.
Next up is Mr. Lopacki. The punishment is laid on thick as Lopacki in shot 4
times, kicked in the head (check out his lips) and then shot 5 more times (not
to mention the arrow that Uncle Douvee shot into his arm). Chance reloads for
a record second time and then turns his attention to the Camoflage man. While
taking cover at the bottom of a set of stairs, Chance takes out yet another
biker (yawn!) and then shoots the Camoflage man once in the leg. (Camoflage
man can actually be seen falling at the top of the stairs in the R rated cut,
but the scene of him getting shot is not there).
Chance and Van Cleaf (as I confusing you yet?) then have their wall to wall
showdown/chat, as both men run though the warehouse, rapidly shooting at each
other, Chance turns his attention to the rooms behind him. He takes out Biker
1289 and then begins to fire several times (minimum of 17) into Camoflage man.
Blood and glass spray, in what is perhaps the films juiciest killing. Deciding
his work in still not complete, Van Danne kicks another nameless thug in the
throat and then fires into his chest at least 8 times.
Van Dame then decides to get rid of Van Cleaf. A Woo staple appears here, as
Van Damme, propelled by the blast of a grenade, slides across the floor, a gun
in each hand, blasting Van Cleaf with a minimum of 25 slugs.
Now, it is time for the final showdown involving Fouchon and Boudreaux. This
scene is quite different. Missing from the release print are some great bits
of dialogue by Henricksen (personal favorite: “There isn't a country in the
world that I haven't fired a bullet in.”). However, missing from the director's
cut is the rock ‘em sock lem kickboxing ending where Van Damme tells Henricksen
that, “Hunting season is over!” Word has it that f ans wanted to see Jean Claude
literally kick some more ass (heads actually), so they went back and reshot
that ending. Also gone is the crowd pleasing "Whoops" by Henricksen as he tries
to disarm a grenade. Instead we have a still satisfying "Aw Fuck" look from
the man.
Surprisingly, the action scenes weren't the only bits cut. Also missing is a
"love" scene between Van Damme and Butler. The scene takes place right after
Natasha finds out about her fathers death. Chance takes her back to his bachelor
pad, where Natasha tends to his wounds and he tells her the sob story of his
life (i.e. never met my parents, grew up with Uncle Douvee etc). The lights
then shut off (smooth move, Jean Claude) and, in typical fashion, the candles
are lit. Chance then tries to put the moves on by kissing Natasha. Looking somewhat
upset, Natasha leaves, only to return a few seconds later. "I changed my mind",
she says. "It happens", replies Chance with a wanton look in his eye. The scene
is actually quite good and actually gives Chance some character depth for once.
Rumor has it that it was cut because test audiences were upset that no flesh
(Butler's breasts and Van Damme's ass) was shown.
The hunters are also played out with a little more professionalism in Woo’s
cut. In the R rated cut, they just bombard Uncle Douvee's house, whereas here,
they surround it and slowly move in, like a lion hunting its prey. Van Cleaf‘s
tracking abilities are also exploited better. In one scene as the hunters search
a railroad bridge, Woo shows a barren marsh and then slowly fades in the images
of Van Damme and Butler running. This basically shows that Van Cleaf is on the
same wavelength and can sense their every move. It is a great effect, but was
probably cut because it confused the preview audience. In one quick snippet
of dialogue, Fouchon claims to have men "along Route 90" just in case they head
for the highway. These men are quite serious about their game.
No scene proves that more than when Fouchon is playing the piano. Intercut with
this scene is extremely graphic stock safari-footage of animals being hunted
and killed, proving the hunters really do think of the men as just game. Just
to let you know, there are a couple of other versions floating around. one is
a very poor quality rough cut that runs around 126 minutes. There is also a
letterboxed Japanese print that is supposedly uncut in terms of violence, though
I have yet to see it. To please all the fanatics, it should be said that the
timecoded print is the final version that Woo turned in.
A majority of Woo’s style (low camera angles, slo-mo, freeze frame) was also
diluted, giving the audience a watered down Woo. Gone is the complete "feel"
of the film. It was basically stripped to the bare bones and released as a Jean
Claude Van Damme picture, not a John Woo picture. Too bad, because after viewing
the director's cut of the film, it is apparent that Target is a worthy film
in Woo's filmography, fitting in nicely right behind Hard-Boiled.