The DVD Dissection: Walk the Line - Extended Cut
Posted by Chad Webb on 03.25.2008
The man in black gets double-dipped with this exciting new version of the hit biopic.
Joaquin Phoenix: Johnny Cash
Reese Witherspoon: June Carter
Ginnifer Goodwin: Vivian Cash
Robert Patrick: Ray Cash
Dallas Roberts: Sam Phillips
Dan John Miller: Luther Perkins
Larry Bagby: Marshall Grant
Shelby Lynne: Carrie Cash
Tyler Hilton: Elvis Presley
Waylon Payne: Jerry Lee Lewis
Shooter Jennings: Waylon Jennings
Directed By: James Mangold
Written By: James Mangold and Gill Dennis
Theatrical Release Date: November 18, 2005
DVD Release Date: March 25, 2008
Theatrical Cut Running Time: 135 minutes
Extended Cut Running Time: 153 minutes
Rated PG-13 for some language, thematic material and depiction of drug dependency.
The Film
Walk the Line can be viewed on two different levels. The first is obvious, and that would as a biopic of the music legend Johnny Cash. The narrative chronicles his life, starting as a boy, and working up to stardom. The second way is as a love story between Cash and fellow tour mate June Carter. If taken solely as a biographical picture, Director James Mangold’s effort is exceedingly average, though still enthralling for those who know of the man in black. Walk the Line is ten times more effective as a struggle of two musically gifted friends trudging through muddy waters to finally embrace as soul mates. Although these perspectives do tend to clash on occasion, this is indeed a magnificent tribute to the legacy left by Johnny and June.
J.R. Cash (Ridge Canipe) was born in Dyess, Arkansas. The events pick up when he is 12 years old where has memorized all the songs in a hymn book, and has also endured a family tragedy that shapes his life. Several years later in 1952, Cash (Joaquin Phoenix) has entered the military. It was during this time he honed his guitar skills and wrote various lyrics. A few more years pass, and Cash has moved to Memphis with his new wife Vivian (Ginnifer Goodwin). He has started a band called Johnny Cash and the Tennessee Two. Eventually, he lands a successful audition with Sun Records producer Sam Phillips (Dallas Roberts), and that propels him to a tour with Elvis Presley (Tyler Hilton) and Jerry Lee Lewis (Waylon Payne). It is here he encounters the love of his life, June Carter (Reese Witherspoon). As Johnny tries to win June’s heart, his addiction to amphetamines threatens to destroy all he has earned.
The rise of Joaquin Phoenix to consummate supporting actor to acclaimed leading man happened swiftly before our eyes. His amazing turn in Gladiator electrified the world. After that, he took on some odd parts here and there, but in 2005, Walk the Line would be his big reach for Oscar gold. The statue could have practically been handed to him in advance, except Jamie Foxx won similarly as Ray Charles a year previously, and as direct competition, Philip Seymour Hoffman astounded the masses as Truman Capote. Phoenix went home empty handed that particular night, but his searing, dark, and raw performance as Johnny Cash is simply sensational. Phoenix immersed himself into the existence that was Johnny Cash. He learned to sing and play the guitar from scratch. These were crucial certainly, but that is not how Phoenix draws us in. He nails every single molecule of Cash from his stance to his lip movements and baritone vocals. He exposes Cash not as the mythical auteur many are familiar with, but as a tortured man with flaws and feelings. Of course It doesn’t hurt that he resembles Cash in physical appearance as well.
One little lady literally delivered a knockout performance as June Carter. Reese Witherspoon was probably the least likely female to impress anyone in 2005, but what she achieved as June Carter is irreplaceable. Witherspoon has been commendable prior to this with ventures in Pleasantville and Fear, but she had never triumphed, and probably never will again, at least to this caliber. That is not an insult to her abilities, but June Carter was a role she was born to portray. From the moment she steps foot on screen, Witherspoon is a bright Southern light bulb who absolutely glows with her terrific country dresses and shiny hair. She is a feisty and resilient heroine who understands how to act around a bus full of drunken rock stars. As I admired Witherspoon, I was surprised that I missed her presence every time she was not involved with a scene. That is how poignant she was. It is as if the viewer is standing in Johnny’s place. We are attracted to her passion and spunk, not to mention her fortitude in saving Johnny. A bubble engulfs Witherspoon and Phoenix in Walk the Line. They did not just possess innate chemistry, but pure fireworks as a dynamic duo that were destined to be an eternal couple.
With the potency of the leads, many supporting performances went unnoticed and underrated. For instance, Robert Patrick effortlessly depicts Ray Cash, John’s alcoholic father who has a rather volatile relationship with his son for decades. Real musician Shelby Lynne is supportive and laudable as his mother Carrie. Ginnifer Goodwin was perhaps the most criminally overlooked of the bunch as Vivian Cash, Johnny’s first wife. What could have been a two-dimensional nitpicking spouse is transformed into a woman is has been profoundly affected by Cash’s unstable lifestyle and vague attention to his family. Her outlook is reasonable. A huge gamble was taken in casting unknown to fill the shoes of Elvis, Jerry Lee Lewis and Roy Orbison, among others. Fortunately, very talented actors tackle these weighty stars with class, and they are not shows excessively, which was a wise choice since the public has mental images of them already.
I have loved all types of music for many years. In my collection is everything from jazz to heavy metal. Most folks I speak with say they listen to anything, but usually stamp on the “except country” to that line. A handful of artists labeled as country have managed to surpass that hurdle. Garth Brooks is one, and Johnny Cash is another. True, Cash is not strictly country, but that is how most would classify him. I was not a devoted follower of his catalogue, but I could easily recognize one of his songs if I heard it, and I do own a “best of“ CD. The selections from Walk the Line are pivotal and sharp. While not all-encompassing, especially with regard to the latter portion of his career, both rarities and hits are integrated into the screenplay. Movies such as this, if intelligent enough, can introduce a entirely new generation to ageless classics, and that is what occurs here. “Ring of Fire”, “Rock and Roll Ruby, and “Get Rhythm” are just some of the outstanding tunes featured. They should please die hard fanatics and new listeners alike.
What handicaps Walk the Line, and prevents it from attaining the perfect rating, is the conventional technique applied by Director James Mangold. This is a standard music story with a Vh1 Behind the Music aura surrounding it constantly. The notable ups and downs of the career, combined with the drug problems and comeback are all included, and no matter who the focus is or how much you might know about them, the trajectory is crystal clear. Mangold’s attempt to streamline the screenplay, co-written by himself and Gill Dennis, into a romance and a career retrospective is shaky since he rushes through the beginning of his life, and hints at the June Carter future as early as in his childhood sequences. His target seems to be June and Johnny, but this is cloudy at times. The themes of redemption and a disturbing past are intertwined, but love overshadows all.
Walk the Line was based on Man in Black and Cash the Autobiography, both penned by Johnny Cash himself. Unquestionably, this ranks as one of Mangold’s best submissions along with Cop Land and the recent remake 3:10 to Yuma. His asset is revealing the hidden angst of a character and exposing an organic atmosphere to the proceedings. His weakness is balancing the drama and transitions. His brilliant system of crafting a product that touches a broad audience is near spotless. If he could only have polished it with some originality, the possibilities would then be endless. That is why I’m Not There was so fresh and invigorating because the design was unique and there were six actors to concentrate on, instead of just one playing the main subject. Special acknowledgment goes to the crew, who supplied fabulous art and set decoration. The costume design from Arianne Phillips was superb and the glorious cinematography from Phedon Papmichael captured three decades beautifully.
Had it not been released on the heels of Ray, Walk the Line might have a slightly divergent reputation. Music biopics appear to be experiencing a gradually increasing trend in Hollywood. They are excellent showcases for the cast, a great method to spike album sales, and delectable for awards season. Walk the Line emerged at both the right and wrong time. It did not mark the beginning of the current trend, but thankfully it was far from too late. It struck while the iron was hot. The aging of films from this genre is awkward in that they are popular and praised when initially seen, but then the years are less than kind as new figures are in the spotlight for studios. This is the risk that accompanies the territory. Regardless, all historical facts can be set aside and all awe-inspiring camera angles are trivial because what will truly carry Walk the Line to future audiences is the manner in which the two leads clenched the core of Johnny and June. They survived the ring of fire and stood tall.
The Video
The movie quality aside, the picture is not extremely well done. The color scheme consists of many dark shades with odd lighting. Granted, this contains more than a few vibrant moments, but this is not spotless transfer by any means. It is passable for sure, but the clarity could have been improved, and the color balance could have been touched up. Walk the Line is primarily gorgeous during the stage sequences where the lights and smoke surround the musicians. The aspect ratio is strange on this one. It is labeled as anamorphic widescreen with an aspect ratio of 2.39:1. Now, I’m no expert, but I have never seen this ratio before. As I watched it on my screen, I did not notice the picture as any different, but that’s just me. Overall, I feel that Fox stepped up the video a tad from the previous editions, but not enough.
The Audio
The sound is as about as fantastic as can be expected. The songs are fabulous, and spring from the speakers with free articulacy. What is so important is the background noises, and they are encapsulated beautifully here with the crowd cheering and listening carefully to each instrument during a band performance. Whenever Johnny throws an item around in anger, or destroys a hotel room, it comes across outstandingly. The characters were all lucid and understandable considering the thick Southern accents. My volume knob rested at a comfortable position as well. This includes a Dolby Digital 5.1 audio track, a 5.1 DTS, and regular Dolby surround in Spanish and French. Subtitles in English, Spanish, and French are also available.
The Packaging
Walk the Line the extended cut is distributed in a standard keep case with a slip sleeve cardboard cover on top of that. The artwork affirms my opinion that the film is a love story as it shows a nice image of Reese and Joaquin. It even has the tagline “Love is a burning thing.” This casing is sloppy compared to the previous collector’s edition which was a digital cardboard foldout case with a box. They are much more attractive than this easy concoction. The menu is short and somewhat disappointing with clips from the film and light melodies. They are easy to navigate.
The Extras
On February 28, 2006 a 2-Disc Collector’s Edition was released. It is currently out of print. That was the theatrical cut, which is not included here. Many of the same extras crossover. As a matter of fact 4 out of the 9 are recycled, while the commentary is preserved. A single disc version was available back then also. That is what I tend to see in many people’s collections, but the extras really are worthwhile.
Feature Commentary -The only participant is co-writer and director James Mangold, and although what he does say is informative and interesting, this is largely a boring commentary with too many blank spots. What I did enjoy was his reading from the script in the beginning. He also addresses Shelby Lynne, the young actors real singing, symmetry. He compliments the cast and crew like anyone would. This should have had someone else involved, like Gil Dennis. All in all, this was a letdown.
Johnny Cash Jukebox: Extended Musical Sequences (26:50) - This can be viewed with introductions or without them. Basically it has short thoughts from members of the Hall of Fame, Rolling Stone magazine, and producers. The songs are “Lewis Boogie”, “Get Rhythm”, “You’re My Baby”, “Jukebox Blues”, “Rock and Roll Ruby”, “That’s All Right Mama”, “Jackson”, and “Cocaine Blues.”
More Man in Black: Deleted Scenes (6:31) - Only two are inserted since the other eight are presumably integrated to the final cut. They are “Memphis Streets” and “At the Bank”. Both belonged out in the first place. This also has optional commentary with James Mangold where he discusses why it was snipped.
Becoming Cash/Becoming Carter (10:36) - This is self explanatory in that is tells how Phoenix and Witherspoon came into their roles. A lot of pressure was on their shoulders. They told Phoenix he would not be Johnny Cash, but had to evoke his spirit. Witherspoon almost said no when told she had to sing. This has interviews with the leads, T Bone Burnett, and cinematographer Phedon Papamichael. This was neat.
Sun Records & The Johnny Cash Sound (11:54) - This was a fitting little documentary on Sun Records and the man who gave it fame, Sam Phillips. Interviews with various famous musicians are shown. It then shifts to Cash’s distinctive sound, the band history, recording, and so forth. This was a good addition.
The Cash Legacy (15:21) - There is no better way to craft a tribute than to have fellow artists praise your work, and a lot are on hand here. Trent Reznor, Willie Nelson, Ozzy Osbourne, Merle Haggard, and others share stories. A great deal of time is spent on how Cash cared for the human race, and played for Native Americans, prisoners, and on and on. I did like the segment on how strong his presence was.
Folsom: Cash and the Comeback (11:46) - This has ample discussions on the prison itself such as the history, and all the events of the day Cash performed. His period with drugs and coming back from that adversity is intriguing, as are the thoughts on The Johnny Cash Show.
Ring of Fire: The Passion of Johnny and June (11:28) - Peers, friends, and family members chat about how John and June met. June was reluctant at first, but did help him through his pill addiction. They touch on writing the song “Ring of Fire”, their devoted relationship, and being soul mates.
Cash and His Faith (11:12) - Members of his church, and other religious individuals express how vital Johnny’s faith in God was, in addition to his family and his music. He did sing gospel, and was a very spiritual person, despite breaking the law whenever he felt like it. This was a surprising extra, but one that showed how Fox went the next couple miles to be detailed on his life.
Celebrating the Man in Black: The Making of Walk the Line (21:37) - This is your typical “Making-of” featurette and mini-doc that has cast and crew interviews, behind the scenes footage, clips of the film, and talks about Johnny’s involvement in the movie. Otherwise, this reiterates many of the points in the above extras.
Walk the Line: Theatrical Trailer (1:49) - As many times as I saw this preview, it is still masterfully constructed.
Trailers - This has previews for Once (2:01) and Waitress (2:26).
The Film: 8.5/10.0
The Video: 7.0/10.0
The Audio: 10.0/10.0
The Packaging: 6.5/10.0
The Extras: 7.5/10.0
The 411: Don’t get me wrong, Walk the Line is a superb film, but it is far from perfect. Once the “wow factor” settles down, people tend to not mention this a lot. However, I enjoyed it, despite the traditional structure, for the brilliant acting and incomparable music. This double dip has adequate technical specifications, but the packaging update and the extras pose a dilemma. Is this worth purchasing for the new cut and the new bonuses? If you already own the 2-disc collector’s edition, no. If not, go ahead and buy this. The new extras are short, and should have been mixed to form one documentary, but oh well, it looks better with all those titles I suppose. The packaging is just lazy in my view. Walk the Line is definitely good enough to add to the personal library, so I recommend it, but spend wisely.
