This isn't a movie that exists to tell a story; rather, it indulges in presenting the elements that traditionally compose a story through its own, admittedly skewed lens.
If the second commentary is a bit dry, the third is a jolt to the system. It becomes immediately clear on this track that Depp had his character down pat. Mr. Thompson is at once abrasive and inexplicably charming. Producer Nabulsi makes a second appearance on this track (from the sound of it, mainly to keep Hunter in line and on topic for the duration). It's not the most revealing track, but it does give a better look into the eccentric man behind the odyssey.
Lastly, we have three deleted scenes presented in non-anamorphic widescreen and Dolby Digital 2.0: "The Mint 400", "The DA From GA", and "The Hardware Barn" (each with optional commentary by Gilliam). The footage is from the work print of the film, so it's not in as good of a condition as one would like. I found the first two scenes to be relatively inconsequential, understandably trimmed from the final cut of the film. The last, however, is a wonderful alternate ending to the release version (note: the commentary by Gilliam during this scene is a must).
--Disc Two--
The Main Menu on Disc Two is divided into two subsections--"The Film" and "The Source".
The Film
Storyboards are first on the list, and they're quite extensive, detailing boards for seven different film sequences ("Opening Sequence," "The Mint Hotel," "Baker," "The Flamingo Hotel / D.A.'s Convention," "Adrenochrome," "Duke Drives Gonzo To The Airport," and "Final Sequence.") There's enough here to stay busy for a good while. Also included in this section is a collection of conceptual art for the film. These illustrations are quite impressive and detailed.
Next up is a stills gallery collection, also broken into subsections ("The Trip", "Las Vegas", "The Great Magnet", "The Film"). This is one of the better photo galleries I've seen in recent memory, as it covers virtually every scene and aspect of production. There are promo stills and production photos galore to be found here.
My personal favorite of the extras, "Johnny Depp/Hunter S. Thompson Correspondence", which clocks in at just over fourteen minutes, is a wonderful glimpse into what is entailed at getting into a character like Thompson. This piece is highly entertaining as you discover how Depp had to adjust his own writing (and thinking) style just to keep up with the complicated man he was attempting to emulate onscreen.
"Hunter Goes to Hollywood" is a short but worthwhile featurette on author Thompson's personal involvement with the production, offering a bird´s eye view of the real man behind the subject of the film. It serves, if nothing else, to give one an even greater respect for Depp's range--the similarities are striking. It all culminates with Thompson shooting his cameo in the film (one you'll have to look closely to spot) and an amusing disagreement with the director over which take to use.
Following the featurette, you'll find "Not the Screenplay", which contains an audio discussion with Gilliam, Terry Grisoni, and Laila Nabulsi about a dispute with the WGA over the screenwriting credit for the film. Also included here is a hilarious short film by Gilliam (entitled "A Dress Pattern") that pokes fun at the ridiculousness of the situation. The short film offers optional commentary by Gilliam.
Rounding out the first section of extras, "A Study In Marketing" is a collection of seven TV spots and the film's theatrical trailer. Of particular interest, however, is an optional commentary on the trailer. I don't recall ever being able to hear a director's thoughts on a trailer before, and it's fascinating to hear the different way Gilliam might have approached the ad campaign had he been in charge instead of the studio. Good stuff.
The Source
The first extra in this section is "Oscar Zeta Acosta, Dr. Gonzo", and it contains three subsections of extras ("Biographical Photo Essay", "Revolt of the Cockroach People", "Thompson on Acosta"). The first is a detailed collection of biographical info and pictures detailing Acosta's life and the differences between the real man and his onscreen caricature. The second is a 30-minute reading by Mr. Acosta from his book, notable for being the only video footage in this DVD set of the man who inspired Dr. Gonzo. The third is a reading Thompson recorded in 2002 of his introduction to Acosta's book.
Next we have the "Ralph Steadman Art Gallery", a collection of line drawings done to accompany the original "Rolling Stone" publication of "Fear and Loathing" and also some additional color conceptual art for the film.
"Breakdown on Paradise Boulevard" is a great supplement, if only to demonstrate the lengths to which this collection goes to be thorough. Included is an audio excerpt from the audio book of "Fear and Loathing" released in 1996, narrated by Harry Dean Stanton, detailing a scene not included in the finished film.
Finally, we have "Fear and Loathing on the Way to Hollywood", a fifty-minute documentary of Thompson and Steadman on a road trip in 1978 shot for the BBC. This is a highly engaging documentary, curiously buried at the end of other, comparably less interesting supplements. It´s a great companion piece to the film that shows a rare glimpse of Hunter in his heyday.
--Miscellaneous--
"Fear and Loathing in Las Vegas" comes housed in a beautiful thick double keepcase featuring artwork from the original "Rolling Stone" publication by illustrator Ralph Steadman. The slipcase is clear with the release notes printed only on the plastic, allowing fans to isolate Steadman´s art. Also of note are the exemplary liner notes, which come complete with an excellent essay on the film by critic J. Hoberman and two pieces written by Hunter S. Thompson himself. These are worthwhile reading and constitute a great extra all their own.
Film Value:
What can you say? This is one terrific package by Criterion. The company did not cut any corners, ensuring an excellent presentation and providing enough supplements to keep you busy for a very long time. The film itself is an example of style creating its own substance. If you're engaged by what Gilliam has done, you'll find much to admire in this mind expanding "trip" through an American ideal lost in a sea of sand. If it seems overblown and out of control, it is, but whether one willingly goes where the movie´s outlandish, non-traditionalist filmmaking attempts to take them is another story.
I rank "Fear and Loathing in Las Vegas" amongst my favorites; it´s an uncompromising picture with a voice all its own. That voice may be loud. It may be annoying. However, it says something, and it deserves to be heard. I highly recommend this stellar release of a great film that has finally received the treatment it deserves.
Lastly, we have three deleted scenes presented in non-anamorphic widescreen and Dolby Digital 2.0: "The Mint 400", "The DA From GA", and "The Hardware Barn" (each with optional commentary by Gilliam). The footage is from the work print of the film, so it's not in as good of a condition as one would like. I found the first two scenes to be relatively inconsequential, understandably trimmed from the final cut of the film. The last, however, is a wonderful alternate ending to the release version (note: the commentary by Gilliam during this scene is a must).
--Disc Two--
The Main Menu on Disc Two is divided into two subsections--"The Film" and "The Source".
The Film
Storyboards are first on the list, and they're quite extensive, detailing boards for seven different film sequences ("Opening Sequence," "The Mint Hotel," "Baker," "The Flamingo Hotel / D.A.'s Convention," "Adrenochrome," "Duke Drives Gonzo To The Airport," and "Final Sequence.") There's enough here to stay busy for a good while. Also included in this section is a collection of conceptual art for the film. These illustrations are quite impressive and detailed.
Next up is a stills gallery collection, also broken into subsections ("The Trip", "Las Vegas", "The Great Magnet", "The Film"). This is one of the better photo galleries I've seen in recent memory, as it covers virtually every scene and aspect of production. There are promo stills and production photos galore to be found here.
My personal favorite of the extras, "Johnny Depp/Hunter S. Thompson Correspondence", which clocks in at just over fourteen minutes, is a wonderful glimpse into what is entailed at getting into a character like Thompson. This piece is highly entertaining as you discover how Depp had to adjust his own writing (and thinking) style just to keep up with the complicated man he was attempting to emulate onscreen.
"Hunter Goes to Hollywood" is a short but worthwhile featurette on author Thompson's personal involvement with the production, offering a bird´s eye view of the real man behind the subject of the film. It serves, if nothing else, to give one an even greater respect for Depp's range--the similarities are striking. It all culminates with Thompson shooting his cameo in the film (one you'll have to look closely to spot) and an amusing disagreement with the director over which take to use.
Following the featurette, you'll find "Not the Screenplay", which contains an audio discussion with Gilliam, Terry Grisoni, and Laila Nabulsi about a dispute with the WGA over the screenwriting credit for the film. Also included here is a hilarious short film by Gilliam (entitled "A Dress Pattern") that pokes fun at the ridiculousness of the situation. The short film offers optional commentary by Gilliam.
Rounding out the first section of extras, "A Study In Marketing" is a collection of seven TV spots and the film's theatrical trailer. Of particular interest, however, is an optional commentary on the trailer. I don't recall ever being able to hear a director's thoughts on a trailer before, and it's fascinating to hear the different way Gilliam might have approached the ad campaign had he been in charge instead of the studio. Good stuff.
The Source
The first extra in this section is "Oscar Zeta Acosta, Dr. Gonzo", and it contains three subsections of extras ("Biographical Photo Essay", "Revolt of the Cockroach People", "Thompson on Acosta"). The first is a detailed collection of biographical info and pictures detailing Acosta's life and the differences between the real man and his onscreen caricature. The second is a 30-minute reading by Mr. Acosta from his book, notable for being the only video footage in this DVD set of the man who inspired Dr. Gonzo. The third is a reading Thompson recorded in 2002 of his introduction to Acosta's book.
Next we have the "Ralph Steadman Art Gallery", a collection of line drawings done to accompany the original "Rolling Stone" publication of "Fear and Loathing" and also some additional color conceptual art for the film.
"Breakdown on Paradise Boulevard" is a great supplement, if only to demonstrate the lengths to which this collection goes to be thorough. Included is an audio excerpt from the audio book of "Fear and Loathing" released in 1996, narrated by Harry Dean Stanton, detailing a scene not included in the finished film.
Finally, we have "Fear and Loathing on the Way to Hollywood", a fifty-minute documentary of Thompson and Steadman on a road trip in 1978 shot for the BBC. This is a highly engaging documentary, curiously buried at the end of other, comparably less interesting supplements. It´s a great companion piece to the film that shows a rare glimpse of Hunter in his heyday.
--Miscellaneous--
"Fear and Loathing in Las Vegas" comes housed in a beautiful thick double keepcase featuring artwork from the original "Rolling Stone" publication by illustrator Ralph Steadman. The slipcase is clear with the release notes printed only on the plastic, allowing fans to isolate Steadman´s art. Also of note are the exemplary liner notes, which come complete with an excellent essay on the film by critic J. Hoberman and two pieces written by Hunter S. Thompson himself. These are worthwhile reading and constitute a great extra all their own.
Film Value:
What can you say? This is one terrific package by Criterion. The company did not cut any corners, ensuring an excellent presentation and providing enough supplements to keep you busy for a very long time. The film itself is an example of style creating its own substance. If you're engaged by what Gilliam has done, you'll find much to admire in this mind expanding "trip" through an American ideal lost in a sea of sand. If it seems overblown and out of control, it is, but whether one willingly goes where the movie´s outlandish, non-traditionalist filmmaking attempts to take them is another story.
I rank "Fear and Loathing in Las Vegas" amongst my favorites; it´s an uncompromising picture with a voice all its own. That voice may be loud. It may be annoying. However, it says something, and it deserves to be heard. I highly recommend this stellar release of a great film that has finally received the treatment it deserves.
Average user rating (1-5):
[release]12150[/release]