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Radically Different Versions: Kino DVD vs Studio Canal Dvd & Download/Streaming


The only widely available form of Les Bonnes Femmes in the English-speaking world is the Kino Dvd version. That's the version I encountered first and fell in love with. Frustrated over the years with the image-quality of the Kino-disc I've searched around online for alternatives, esp. French releases by Studio Canal (Canal plus). The differing lengths and asp.ratios of these versions (Kino = 92 mins at 1.67:1, SC = 101 min at 1:1.63) alerted me to the fact that these versions differ considerably. And at first glance my worst fears were fulfilled, e.g., one of my favorite frames from LBF - Kino version - is from its coda:
https://tinyurl.com/y2mxaeto
This frame was lifted for Mad Men's title sequence (Mad Men creator, Matt Weiner lists LBF as one of his ten favorite/'most important for him' films).
The narrower asp. ratio of Studio Canal's release, however, loses the cigarette almost entirely from this frame:
https://tinyurl.com/y6qc79kl
and the no cigarette appears in any other frame. Uh oh. Numerous other apparent framing infelicities afflict Studio Canal's version making it unacceptable in my view.

That said, if it turns out that SC's additional 9 minutes is lots of additional footage and not principally some sort of encoding or calibration error, then it's going to be impossible to live with just settle for the Kino version either. In subsequent posts I detail all the SC edition's additional footage, which effectively makes LBF a very different movie.
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(Cont.) SC edition's Added Material
1. Begins with a quote from Jean de la Fontaine comparing men to wolves. The quote is both presented onscreen & read aloud.
2. Near the beginning of the film there's an 11 second sequence there Jane and Andre walk on the street, see a strip-club customer vomit on the other side of the street, while 2 other guys from the strip club - Marcel and Albert - notice them)
3. After Jane and Jacqueline accept a ride from Marcel and Albert, Albert first tries to tell them a complicated riddle (a 1m 12s scene).
4. Before Teddy Bear first shows up, we get a 4m 44s scene of 11 a.m ennui & chaos: Bored shopgirls hector Madame Louise about her secretive bag, and Jacqueline about her having seemingly written to an advice column; a poet enters & begins performing, only to be interrupetd by a battery customer; the poet asks Louise for money, and resumes performing; the boss enters, chastises all for slacking, then retreats; finally Louise gives the Poet $10)
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(Cont.)
5. A 22s scene of 2.20pm post-zoo ennui before Teddy Bear shows up for a second time.
6. After Louise tells Jacqueline about her secret/fetish we get a montage of pre-7 p.m. bustle and anxiousness. SC adds to that montage a 1m 5s scene of Andre and another soldier confined to barracks moping about how screwed they are. (Presumably we should infer that it was Andre being out late carousing with Jane the evening after the zoo that led to this.)
7. Ginette's onstage break-down is given 20s and a series of stylised shots with a baby scream soundtrack. In the Kino version Ginette's break-down only gets 10s (and really just an undistinguished single shot of some lights; the proportionately less baby stuff has noticeably less impact to the point where Kino makes it easy to not get what just happened)
8. The terminal shot of the ominous dissolve from Jacqueline at the baths to Ernest's motorbike emerging from the vanishing point down a long straight country road is more than doubled in length from 9s to 19s.
9. 8s of angles of the noodle cooking operation at the roadside cafe occur *before* Enest clasps Jacqueline's hand at a table in that cafe.

In sum, SC's LBF is a substantially different, more expansive film than Kino's LBF.
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Kino probably got the original film for the international release you can't blame them sometimes they just go for what's available and suitable for restoration.

I've seen some films that actually lose frames or scenes after being restored either because the film edition is of a different region or simply damaged reels that need more work to be fully restored.

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@Devilman. I'm not "blaming" Kino for anything really. After all, before their edition of LBF, the film was almost unavailable in the English-speaking world. It is, however, a serious problem that in 2021, their edition is still the only one out there without having to do special imports from France, etc..

I think you are likely correct that Kino's source was something like an 'international release cut' (the Kino-dvd even has its English subtitles burned into the image). Yet IMDb and other official quasi-sources never even *mention* that such radically divergent cuts of the film exist let alone have something like hegemony in a large chunk of the world! Hence my posts now detailing for the record at least most of the major divergences between the French/Studio Canal and English-speaking world/Kino cuts. In my view, people who've only seen one version *need* to track down and watch the other.

Chabrol never quite achieved the fame of some of his New Wave colleagues in the English-speaking world, and that problem of inattention persists, e.g., Criterion only has two early Chabrols on blu-ray. My memory is that LBF itself only got a dvd-release in the US (i.e., by Kino) in the mid-'90s after La Ceremonie became a bit of an arthouse hit. Lots of Chabrol films aren't widely available in the English-speaking world, few on blu-ray or in any sort of HD quality. Lots of presumptive Chabrol masterworks such as Les Biches and Le Boucher and La Rupture that are still mainly known in the US and elsewhere via 1990s-era dvds may, for all I know, turn out to be as divergent & internationally expurgated as LBF. Being a Chabrol-fan outside of France is tough! In recent decades previously quite hard to see French directors such as Rivette, Rohmer, Varda have all had their days in the sun, and now all their best stuff is widely available in definitive editions. Not so Chabrol, whose best work (let alone his minor titles) mostly remains hard or even impossible to find in good order.

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Sadly this happened to many films there are even some that are no longer the original cut that was shown initially when released and we are stuck with edited or trimmed down versions.

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@Devil. I think we agree about almost everything! Note that since I'm going through a bit of a Chabrol phase right now, I can cite as further evidence of how dire the situation is with his films, the minor Chabrol, Les liens de sang a.k.a. Blood Relatives (1978). It was shot in Montreal w/ some actors using English and some French. All dialogue may in fact have been post-recorded, Italian Giallo-style. Anyhow, all versions I've seen are clearly at least partially dubbed. There seems to be no version where all the audio matches up with lip movements perfectly.

So be it, but much more irritating is the fact that the English dub I've seen is a *completely* different cut from the French version I've seen (for which no subtitles exist apparently). Different scores are used throughout (lots of classical in the French version!), different sequences, shots and edits throughout too. They're flat out different films with the English Version being distinctly trashier than the French! Needless to say, the copies I've been able to get hold of have different aspect ratios, and feature wildly different colors and contrast levels, with the English version being so dark at the climax that you *really* can't see what's going on! Oh brother....

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(Cont.)
Now let's mention two features the Kino version enjoys that SC allows to lapse:
1. Heading towards the climax of the film and starting with the 'Shall we go?" forest shot the Kino version post-processes the image with out-of-focus sleety/raindrop sfx. The SC version doesn't do this and so doesn't *attempt* to build a visual/sfx bridge from the climax's exteriors to the coda's night-club glitter-ball. That's too bad in my view.
2. Kino's version includes a 1 minute black outro that reprises the second, only marginally diagetic piece of ballroom schmaltz from the Coda. I've seen SC dvds of LBF that have this outro, but blu-ray quality Studio Canal downloads do not have it.

To conclude: Kino's LBF is a streamlined rocketship compared to SC's. It does seem clear, however, that SC has Chabrol's more expansive vision of LBF correct. But I'm also fairly certain that SC does not have the right aspect ratio, and the two points on which Kino is more generous/maximalist than SC make a lot of sense. This is a very unsatisfactory situation. A definitive version of LBF is still ahead of us.

In the meantime, however, fans of LBF owe it to themselves to procure/hang onto copies of both Kino and SC editions of this wonderful film.

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