The American Way

On a lazy Sunday morning, after taking the dog out for a morning hike/bathroom break, I settle on the couch to surf the channels for a few pre-breakfast minutes. Fortune smiles on me and I stumble upon Die Hard on A&E HD, a cable movie channel that shows a large number of awesome, though edited, feature films.

As a believer in free speech I prefer owning the unedited versions of everything I purchase, but there is some fascination for me in viewing something I’ve seen a million times in a restricted form. It’s always interesting to see what gets cut.

Stumbling into the film just as Hans and his squad are busting up the Christmas party in the Takagi building, I was not at all surprised when the chest of an up-close topless woman was blurred away. Now, we all know the preference in American media for violence over nudity and even profanity, but the coming moments were pretty stunning by even our standards.

In his office, Mr. Takagi refuses to cooperate with Hans in opening the electronically coded piece of the corporate safe. After a countdown, Hans looks Takagi in the eyes and shoots him in the face, with a large amount of blood exploding out the back of his head and covering the glass door windows behind him. As the audience, we hear the gun fire, see Takagi’s head jerk backward, and blood cover the windows in front of the camera.

The fact that this is unedited is a little disturbing, but it is the juxtaposition with what follows that truly captures the moment. After a mishap, John McClane is upstairs, berating himself. “Why didn’t you save him, John? ‘Cause then you’d be dead, too,” followed by blurred mouth, and silence. The missing word, for those of unfamiliar with the film, is asshole.

A moment later, staring across the street into a lit apartment, a woman is undressing at a great distance. Though barely visible, even in HD, there is a blurred circle over her lower body. You’d think I needn’t explain what makes up the missing picture, but you’d be wrong. This is not some lurid shot removed for the sake of the children, but a barely discernible image from some fifty yards. The director edited the scene with distance and darkness, and we didn’t need a digital cloud to get the job done.

As a recap, the audience has now seen a man’s brains blown out in direct view, followed by the removal of a not-that-bad-of-a-word and the blurring of telescopic nudity. Graphic violence: check. Bad word and almost nudity: no check. This is the censor’s equivalent of nailing Capone on tax evasion.

I thought I was okay with the status quo in American media, but I’m just not sure I can accept it any longer. It’s just childish to be offended by one and so nonchalant about the other. I’m not arguing for on-screen sexual acts, but could we at least pare down the gap in the double standard? Either lessen the nudity controls or crank up the violence ones. We may need to examine our values as a society when we view a bad word as worse than an execution right before our eyes.

Side note: after completing this post and doing a couple chores, I came back and caught the end of the movie and the beginning of the next, Analyze This. I loved seeing Karl get shot at the end of the former, blood squirting and body heaving, and then watching Paul Vitti (Robert De Niro) interrogate somebody with the censors on overdrive. Any De Niro mafia performance comes with its fair share of F-bombs, and the absence of his catch word makes for high comedy, especially when their removal comes immediately after a brutal killing.