Editing objectionable movie scenes
Editing objectionable movie scenes -- How films like ''The Full Monty'' and ''Boogie Nights'' would look without their R-rated material
Their hearts will go on and on…except in Utah. After the Titanic video went on sale Sept. 1, 1998, Sunrise Family Video in American Fork, Utah, began offering a unique service: For $5, Sunrise owners Don and Carol Biesinger will edit out the scene in which Kate Winslet poses nude for Leonardo DiCaprio, as well as the love scene in the back of a car. So far, almost 2,000 tapes have been brought in for clipping. ”We would be very happy if [Paramount] would make airline versions available to the public,” says Carol. ”We’d be happily out of a job.” Understandably, Paramount isn’t happy. ”Some consumers are offended by footage they feel is inappropriate. It does not give them the right to freely edit,” says a spokeswoman, who adds that the studio is looking into legal action. Responds Carol: ”If they can prove that what we’re doing is wrong or illegal, then we’ll quit.”
In the meantime, EW offers a peek at how some other popular films might have looked if they had been edited in Utah:
THE FULL MONTY Real plot: Unemployed steelworkers trapped in a grim existence put on a strip show to reclaim their dignity. Utah version: Unemployed steelworkers are trapped in a grim existence.
MULAN Real plot: A Chinese girl dresses as a male warrior and saves China. Utah version: A Chinese man saves China.
BOOGIE NIGHTS Real plot: A physically gifted busboy finds fame and fortune in the world of porn films. Utah version: A three-minute ’70s-music video.
THERE’S SOMETHING ABOUT MARY Real plot: Ben Stiller suffers a zipper injury on prom night; he later becomes self-involved. Utah version: Cameron Diaz can’t understand why she’s stood up on prom night; she resorts to superstrong hair gel.
WHY DO FOOLS FALL IN LOVE Real plot: The real-life story about a man who had three wives at the same time. Utah version: The real-life story about a man who had three wives at the same time.
— Marta Murvosh