"Payback: Straight Up - The Director's Cut" (2006) - Movie Review

When “Payback” came in 1999, the end of the decade which saw the upheaval rising of the computer graphics over the film industry, I was fed up with the graphics. I remember how I and my brother Barath were pleasantly surprised by this raw action film which was so out of the league when the blockbuster arena was flooded with CGI and the animated materials became a dumb character without the body and soul required for a story. For people who do not know the history, director Brian Helgeland made a hard dark version originally when the studio had their conflict over it. Hence due to creative differences, Brian left while the whole third act was re-shot and a voice over by Mel Gibson fed in along with other changes. This film was done when in 2005 Paramount Studios allowed Brian Helgeland to make his cut and release it in DVD. Hence the “Payback: Straight Up – The Director’s Cut”.

The film’s major plot remains as that of the theatrical version. Porter (Mel Gibson) is back in town to get his seventy grand for which he was betrayed by his crime partner Val Resnick (Gregg Henry) and shot by his wife Lynn (Deborah Hunger). No voice over and no blue tint which gave the sleek look for the “Payback”. Much of the first two acts are the same except with some more additions of scenes. There is a confrontation between Porter and Lynn in their first meeting which gives more brutality to Porter. Then the whole third act is different with a completely alternative ending. The character of Kris Kristofferson Mr. Bronson is not there.

So what can be thought of this new film authenticated by the director? How can we compare it to the theatrical? Which one is better? First of all, it is a totally different film now. That is something to be surprised and learned about the film industry wherein you can very well get two completely different films with some commonality but how bad/good it can be made with the same material. I still like the theatrical version but to compare it and say this one is not good is not the right justice. This film is what the director intended when he set foot on this project and is evident. While I watched the 1999 version, I was not that much familiar with the 70s style crime films and this one pays ode to those genre. Porter is never a funny guy as we had seen and we never get to move close with him. We do not even root for him as the slogan goes for the first movie. He is what he is and we see him for that. There is no transformation of our morality in to that world which accounts for each death count. Hence it does not stand as the heroic action films it would be hoped for but a clinical pure approach into this person who is close to being a sociopath. These points are the echoes of the special feature making of documentary and I would suggest viewing that when you get your hands on this DVD.

The score is changed which is composed by Scott Stambler is pumped up but remains dark as per the character. Watching the film and being reminded of the first version I saw, it is educational and amazing. Every one of us knew the politics in the industry especially over creativity but here when it got hindered there emerged another version which is quite phenomenal. What would have been the outcome of Brian’s original content is out for debate but the outcome of art in the hands or the blends of two talented minds is just mind blowing.

I liked the way the world created where Porter emerges in and out. The climax while though will not rest easily for us being reminded of the previous twin; it is an extension of the toughness this character Porter gets up. Porter’s unflinching face to get his money and the calculated smart rough manner to get it with moving and having the eye for the things to be cautioned upon is one more time stressed upon by this new ending.

Both the films have the same performances and locations, major plot work with even the same editor, Kevin Stitt. Brian Helgeland’s adopted film by John Myre who took over and gave the theatrical version is classy, stylish and dark and Brian’s version of dressing up the film has style in classic manner and sumptuously dark for what he intended. I would recommend watching it for what it could have been and to get two good movies from talents like this is a good thing to be welcomed. Still, I loved “Payback” a little more than the “Payback: Straight Up – The Director’s Cut”.