Synopsis:

By removing the love triangle this turns out to be a great action and war movie about a day the US will never forget.

Intentions:

I write this having completed my first viewing of the final cut. This may be the finest re-edit I’ve done. Using the R-rated Director’s Cut as my basis, I have completely removed the awful romantic love triangle and thereby turned this into a kinetic war movie that focuses entirely on the lead-up and attack on Pearl Harbor, and the Doolittle Raid on Tokyo. Like Titanic, Pearl Harbor was really two movies in one. A story of a historical disaster, and a love story. It made Titanic float, but it made Pearl Harbor sink. By removing the ham-fisted love story, the movie becomes a visually stunning actioner that hits the gas and doesn’t let up for two hours.

Change List:

We see the genuine comradery between lifelong buddies Rafe and Danny without any pointless tension thrown in. We respect Evelyn as a capable nurse who rises to an incredible challenge. She isn’t romantically linked to either character, which keeps the focus on the looming war from all sides â€? Rafe’s combat post in the RAF, Danny, the other flyboys and nurses posted at Pearl, the newsreels, the intelligence and analysis in Washington, and the preparation of the Japanese for the attack. When all hell breaks loose, we’re squarely focused on it, and not on false tensions written out of a marketing playbook. Some scenes were moved around in the first act to improve flow, but rather than pulling out little bits here and there, I mostly lopped out giant sections and left others intact. Just remember, the Ritalin-challenged quick-cut editing style is Michael Bay’s work, not mine. The most finessed part of the edit is the bar scene upon Rafe’s return. Instead of having lifelong friends sniping at each other and descending into fisticuffs over a woman, we have Danny somewhat speechless and in awe of his friend who has returned from the dead. Moments like that aren’t moments for anger and hate, they’re cause for celebration, and that’s how the scene now plays out. Oh, and Bruce Willis is taken right the F— out of this film. If there ever was a moment that pulled me out of a movie, it’s was seeing John McClane limping around in triage behind Jennifer Garner’s bewildered Nurse Sandra. That one shot drained all the emotional investment the attack built up. All it needed was a “Yippie-kay-yay” as a final punch. Whatever. It’s gone, and Jennifer Garner’s moment of clueless despair right along with it. It only improves her character and keeps you emotionally invested in Nurse Betty’s death. Kate’s voiceover brings the film to a pitch-perfect close. No cheesy scenes of “the family” flying about in the clouds. The end is more patriotic, more noble, and yes, more uplifting than a crop duster. What we’re left with is a film that pays genuine tribute to the men (and women) who fought and died at Pearl Harbor, and those who lived on to fight out World War II. Clocking in at 2 hours 8 minutes (including credits) it feels like the perfect length.

Additional Notes:

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