Disclosure: Considering Stories is a member of the Amazon Associates program. This movie echoes some of Psycho‘s plot beats and mirrors a few of that film’s shots—Cain pushing a car into a watery grave mimics Norman Bates’ favorite disposal place for the evidence of his crimes. This vision of Raising Cain parodies, embraces, celebrates, and experiments with the psychodrama and plays on De Palma’s thematic obsessions and stylistic trademarks (and our expectations of them) to create a film may indeed have been a little too far ahead of its time. Also interviewed are actors Steven Bauer (24 minutes), Tom Bower (8 minutes), and Mel Harris (8 minutes), and film editor Paul Hirsch (10 minutes). Blu-ray review of 1992's RAISING CAIN director's cut starring John Lithgow and Lolita Davidovich and written and directed by Brian De Palma Not the weird experience I recall, Raising Cain is a little gem, imperfect perhaps and maybe a little too devoted to its influences for its own good, but an engaging, powerful story well told. Combined with a fresh A/V presentation and a handful of other brand new extras, this is a exemplary treatment of a catalog title that's an exception to the rule these days. De Palma was never a part of the process (hence the quotation marks), although he eventually watched and approved of Gelderblom's efforts; even more, the director lobbied for its inclusion in Shout Factory's new Collector's Edition Blu-ray of Raising Cain (albeit in full 1080p resolution with lossless audio, using a new and improved transfer). To be honest I never cared much for De Palma, Capolla seemed like the better of the big 70s-80s gangster/crime movie directors. Over the years, I revisited the thing and found it less frustrating but still overflowing with choices I just did not understand. Part of the reason for this is because, structurally, Raising Cain is kind of a mess. He’s got a strange, often dark sense of humor that comes out in playful twists genre conventions. They have an affair and she soon learns that the perfect husband is anything but perfect. Writer/Director Brian De Palma’s twisty thriller Raising Cain (1992) tackles captive children, broken psyches and one of the sickest psychos this side of, well, Psycho (1960). Theatrical Cut: 5 sec. What I got was . Maybe even before that. Next week, we leave Psycho and its many sequels and influences behind for a chance to explore another topic altogether. They might have a copy for you to rent for free. But he got cold feet in post-production, fearing that audiences would get distracted by the romantic prologue or lost in the thickets of his narrative intricacies, and instead opened the film on Carter and his psychosis. Running alongside this domestic drama is a subplot involving kidnapped children...which may or may not be at the hands of Nix's father, who supposedly committed suicide and, years earlier, co-wrote a psychology text with Dr. Lynn Waldheim (Frances Sternhagen). Jokes are fine, but don't post tactless/inappropriate ones. Of course, I did not know that at the time. Sure, we’ve had a couple of dream sequences forecasting the impending violence—a nightmare involving a car wreck and a poorly positioned knight’s lance is charged with erotic and horrific implications—but the moment is not telegraphed. Raising Cain was the director's first in the suspense/thriller genre in almost a decade; the prior was 1984's Body Double. In 2000, The Exorcist received an extended director's cut, at the time called The Version You've Never Seen, and here's what it changes. Raising Cain is still a riddle wrapped inside a mystery during several stretches (not the least of which are those pesky stand-alone and nesting dream sequences along the way), with the end result being a twisted, occasionally frustrating tale that forces viewers to pay attention and hopefully not get lost during the ride. The overuse of dream sequences muddles the narrative and makes it nearly impossible to create any attachment to the characters. The Directors Cut that reorders the scenes massively improves the movie, if you have never seen Raising Cain at all then watch that version from Disk 2 in the Blu ray set first. ( Log Out / Check out your local library. Save maybe this one is a bit less graceful in its structuring, with bizarre dreams within dreams within flashbacks until it starts to cut the shit and find some grounding eventually. Don't get in arguments with people here, or start long discussions. I haven't really done a deep dive of De Palma's later work, but I'm gonna go ahead and say that this film signaled his official career decline. alternative cut: time index DC: 27.35 time index TC: 28.12 the bed scene is longer as well. But I digress. Okay, that’s no secret. The Director's Cut is infinitely more satisfying. The acting outside of Lithgow is terrible and the plot is mostly a convoluted mess with a lame villain and a vague ending. When this dreamboat sails back into her life and Carter spies their affair, we have a pretty good idea where this is headed. She's got her own issues, too: after* a chance encounter with ex-flame Jack Dante (Steven Bauer) leads to an affair---incidentally, they first hooked up while Jack's late wife lay dying ten feet away in a cancer ward, because Raising Cain is that kind of movie---all hell breaks loose, and whatever sense of sanity Carter had left goes right out the window. Shots and subject matters the old master would not have touched with a ten-foot pole. And sleep suddenly overcomes the entire police station when Carter escapes, everyone but Jenny, who wanders the unaccountably empty building like a heroine in a haunted house. Raising Cain is just a confusing and awkward movie about a man with split personality who is unstable and has a wife who is cheating on him which causes him to snap and then he kidnaps kids for his father who is hiding away in Europe so he can conduct experiments. The narrative twists then, showing us why Carter has done what he does, and then his story catches up to the moment where things broke and the plot carries onward through shocks and lovely horror . Disc 2, of course, contains the previously mentioned "Director's Cut" of the film (92 minutes) with a handful of scenes reordered as originally intended according to De Palma's script. Optional English subtitles have been included during the main feature only. You can see Peet Gelderblom’s work on his Vimeo page. De Palma borrows from Psycho and Sybil and Peeping Tom—Carter keeps a video camera trained on his daughter’s bed for constant surveillance during the night—and then ups the ante. De Palma’s career has had movies that really work for me (in addition to The Untouchables, 2002’s Femme Fatale and 1981’s Blow Out). I never thought Raising Cain would rank high in my estimation of the director’s oeuvre—it seemed to be nothing more than an interesting opportunity made into an uninteresting release. There is a delightful black humor to the calculations and casual cruelties in this feature. . As in the theatrical cut, logic is bent for dramatic and thematic effect. It's hard to think of a director with more divisive films under their belt than Brian De Palma, and Raising Cain (1992) is just one of them. Image detail and textures are quite good---keeping in mind that its slightly glossy and soft appearance falls perfectly in line with De Palma's other films from the era---with excellent color reproduction and very little dirt and debris along the way. It's hard to think of a director with more divisive films under their belt than Brian De Palma, and Raising Cain (1992) is just one of them. Without venturing any further down the rabbit hole---for fear of spoiling the plot and driving myself batty---let's just say that Raising Cain has a full plate. His wife, Jenny, becomes concerned that he is obsessively studying their daughter, Amy; he regards her like a scientist tracking the development of his creation. As we roll into July and the promise of fireworks fills the American imagination, let’s take a gander at some women filmmakers. . Almost every moment with Carter and Jenny is heightened to nightmare, fantasy, or reverie, with the cops trying to put a logical box around it. Blu-ray: Orson Welles’ ‘Chimes at Midnight’ and ‘The Immortal Story’ debut on Criterion, Seattle Screens: Film noir ‘Nightmare,’ Local Sightings at NWFF, and Arthouse Theatre Day, What to stream: ‘The Haunting of Bly Manor’ on Netflix, ‘The Right Stuff’ on Disney+, final seasons of ‘Schitt’s Creek’ and ‘Mr. Other layers have shifted and a few scenes are now blended with different transitions, but the second half of the film runs essentially the same in both versions. Purists might favor the two-channel mix, yet I think Raising Cain's loopy atmosphere almost demands the extra four. Qualifying purchases made using the above product links can result in our little site receiving money from big, bad Amazon. That curly kid was the creepiest thing in the movie. Now, in the wake of films like Pulp Fiction and Memento and Eternal Sunshine of the Spotless Mind and Inception, it looks cheeky and clever and self-aware: the ultimate De Palma puzzle box. Likewise, don't respond to trollish comments; just report them and ignore them. Along with the theatrical cut remastered from its Blu-ray debut and the Director Approved release of the recut, it features Peet Gelderblom’s 2012 “Raising Cain Re-Cut: A Video Essay” (which uses the recut as a jumping off point to analyze De Palma’s style and sensibility) and the new “Changing Cain: Brian De Palma’s Cult Classic Restored” (basically a two-minute introduction to the recut) plus new video interviews. De Palma turns the entire gimmick into a dumb joke with a punchline that borders on a castration gag. Both audio options (a tasteful English 5.1 DTS-HD Master Audio track and the original 2.0 DTS-HD Master Audio mix) sound as good as expected. Hubby is taking a year off from his practice to help raise their bright young child, sure, but he is turning a little different. The first shot of the Raising Cain: Director’s Cut (1992/2012) puts a Valentine’s heart around her entrance, a cheesy video effect in an upscale boutique that taps right into romantic dreams that her “perfect” husband is failing to satisfy. Raising Cain is a 1992 psychological horror thriller film written and directed by Brian De Palma, and starring John Lithgow, Lolita Davidovich and Steven Bauer.