Here’s what is novel on the 20th Edition DVD:
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- “The Princess Bride: The Untold Tales”
- “The Art of Fencing” Featurette
- “Fairy Tales and Folklore” Featurette
- “Legal Fancy and High Adventure: The Official The Princess Bride DVD Game
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The Dismay Pirate Roberts/Buttercup Editions include all of the Special Edition features plus:
French (Dolby Digital 2.0 Surround) Audio Track
“Horror Pirate Roberts: Greatest Story of the Seven Seas” mockumentary
“Care For is Like a Storybook Epic” featurette
“Miraculous Make-up” featurette
Quotable “Battle of Wits” trivia game
Collective booklet: “Fezzik’s Guide to Florin”
I purchase the Terror Pirate Robert’s/Buttercup Edition, but there are three reasons why you might want to pick the original 20th edition:
1. You don’t already acquire the movie (shame on you) .
2. You net all things Princess Bride.
3. The DVD veil art is fabulous!
I remember when I first saw this movie, around age 13, I had no notion who the Man in Sunless was through the entirety of the first act. Obvious, it’s apparent now, given the attend of hindsight, but because of the actor’s anonymity at the time I never made the positive connection. On top of that, most of the rest of the cast was unknown to me as well (except for the one non-actor, Monsieur Roussimoff, a.k.a. Andre the Giant) . The sweeping anonymity of the company allowed the film to do two things: first, the audience isn’t distracted by the presence of the Enormous Star; and second, unknown actors allow for no preconceived notions of their characters. Which in turn allows the filmmakers to subvert character types, and insert some legal surprises into the memoir.
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Which, to acquire a long point even longer, is the whole ethos of the film
William Goldman’s book “The Princess Bride”, on which this film is based, intended to mumble only the ‘good parts’ version of the yarn of Westley and Buttercup. That is, it would leave in the high drama and action and romance, while curbing the back-stories and superfluous exposition. William Goldman, in his role as adaptor of the book into a screenplay, remains fiercely true to this proposition. He’s constructed a framing plan, wherein a grandfather is reading to his sick grandson, which allows him to create meta-fictional comments on the seemingly typical fairy memoir being told. In doing so, however, he subverts the fairy tale’s typicalness, making it powerful more surprising and revelatory. At one point the grandson worriedly asks about the fate of the villain: “Who kills Humperdinck? ” The grandfather calmly answers, “No one. He lives.” Which is not only a legal statement, for that is exactly what happens, but it doesn’t even reach cessation to ruining the extinguish of the account. On the contrary, it increases the suspense, and makes what does happen quite incredible.
Rob Reiner, in only his third time out in the director’s chair, does a amazing job of translating Goldman’s script to the cover. He utilizes elements, whether by choice or by budgetary restraints, that would at first appear incongruous, but work as a whole to hold the audience off-balance, and thus more receptive to the surprises the movie has in store for them.
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The acting is, stylistically, all over the site. It ranges from the unabashed over-the-top passion of Mandy Patinkin (Inigo Montoya), to the bumbling buffoonery of Wallace Shawn (Vizzini), to the gentle anti-acting of Andre the Giant (Fezzik), to the unsubtle Snidely Whiplash villainy of Chris Sarandon (Prince Humperdinck), to the Borscht Belt mugging of Billy Crystal (Miracle Max), to the chilly malice of Christopher Guest (Count Rugen), and the stark realism of Robin Wright (Buttercup, the title character) . No two actors select the same road, but they all somehow near at the same site. Cary Elwes, playing the hero, is the only one who falls easily into all these styles, as the area demands it. He is menacing, suave, cold, comical, athletic, simple, sweet, fierce, etc., etc., etc. Elwes and Patinkin are the standouts for me — their swordfight atop the Cliffs of Insanity is technically intellectual, literate, and extremely engaging — but the entire cast effective. Even the smaller roles (British comedians Mel Smith and Peter Cook each have brief but memorable one-joke cameos) construct their label.
The film’s musical catch, smooth by ‘Dire Straits’ frontman Label Knoplfer, swings and sways from moment to moment. In one, he uses stark, bouncy lines to underscore a simple scene of Fezzik and Inigo trading rhymes. In the next, he layers synthesized strings to call up the gravity of the Man in Black’s journey. My only scrape with the music is the song written for the closing credits: it’s weepy and melodramatic, without the sense of subversive fun that had prevailed up until that point.
The sets and scenery switch help and forth between loyal and obviously false. Filmed in and around the English countryside, most of the outdoor locations (the severe valley, the woods) breathe reality and beauty into the chronicle. Others, such as the Fire Swamp, the Pit of Despair, and the plateau above the Cliffs of Insanity, have the phony feel of a Hollywood soundstage. Again, the film keeps the audience on their toes.
So now that I am 27 instead of 13, and know back-to-front the filmmographies of all the actors interested, and have seen the film more than a dozen times, and can quote lines from it at the plunge of a hat, do I earn it any less intriguing than on that first viewing? Of course not. Goldman and Reiner’s film rewards multiple viewings, with its wit, its playfulness, and most importantly, its subversiveness. Will there ever be a time when I tire of watching it? A time like that is fair now, as Vizzini might say, “inconceivable”.
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