The Original vs. The Remake dives into Death Wish—1974’s vigilante trailer vs. 2018’s Bruce Willis family drama twist—then contrasts 3:10 to Yuma’s 1957 character intro with Crowe’s 2007 hyper-masculine reboot. A Star Is Born’s 1937 studio-glamour trailer clashes with Gaga’s 2018 remake, where her self-doubt replaces the original’s career rivalry tension. Trailers reveal shifting priorities: spectacle over nuance, or modernized hooks that reshape legacy narratives. [Automatically generated summary]
So a while back I did a video where I compared movies to remakes of the same movies.
So that was kind of amusing.
So we're gonna today we're gonna do something different.
We're gonna compare trailers of movies to trailers of the remakes of the movies.
We'll see.
This may be entertaining.
Possibly even I may fall asleep.
We'll find out.
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Enjoy a typical afternoon in New York City.
Groceries, ma'am.
My name is Paul Kersey.
How's my mother?
I'm sorry.
She died a few minutes ago, Mr. Kersey.
Any chance of catching these men?
This chance, sure.
Just a chance.
I'd be less than honest if I gave you more hope, Mr. Kersey.
This is Paul Kersey.
This is the story of a man who decided to clean up the most violent town in the world.
Listen, Real.
Hand me the money.
He begins where all the super cops leave off.
A death wish always comes true.
And you get to love it.
Deathwish, great movie, came around at a time like this one when liberal left-wing policies had made crime skyrocket.
It was condemned roundly by the left, of course, because he goes out and he takes a vigilante, essentially.
But the people loved it and it became a franchise.
So let's see the remake.
I don't think I've ever seen the remake.
Let's see the remake trailer.
Have I told you I loved you?
Yes, Dad.
You've told me like a billion times.
Honey?
Can you please come down here?
No.
Jordan!
Look, something's happened.
You can't go in there.
Dad, where's mom?
I love my family.
I failed to protect them.
I'm sorry, Dr. Kersey, nothing yet.
So there's nothing that I can do.
Behind the Hollywood Scenes00:10:28
Is that what you're saying?
Can have faith.
Help faith work out for them.
Who else was there?
I don't know anything else.
You're not going to kill me.
No.
Jack is.
You can't deny me now.
You got caught in some crossfire?
Yeah.
He said next time an ink will be in my leg.
You are going to be all right.
I promise.
Someone took my wife.
Everyone involved is going to pay.
You look much better getting out socializing.
Mmm.
Not so much.
Well, whatever you're doing, keep it up.
Okay.
I will.
All right.
Interesting differences there.
They emphasize Bruce Willis, you know, his kindness as being a doctor.
They emphasize more of his love.
They make him softer.
They put a little humor in there.
They have a kind of a killing device where he drops a car on a guy.
But it did ultimately get to the vengeance part of it.
It took a while.
We had to wind up a little bit more to get to the vengeance part, where when the first one came out, we were just like, just show them killing.
Please, just get to the killing of the bad guys.
That's what we want to see.
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Let's see the next one.
The pounding of the wheels is more like a mournful sigh.
There's a legend and there's a rumor.
When you take 310 to Yuma, you can see the ghosts of outlaws go riding by in the sky.
Think you'll ever get back to Bisbee?
Oh, don't look like it.
I ain't complaining.
I got something to remember.
Don't move.
It's Marsha Wade.
He's got a shotgun on you.
Soon it would be 310.
The glasses were empty.
The guns were loaded.
Soon a man, scared but brave, would run an outlaw gauntlet to put a prisoner on the gallows-bound train to Yuma.
Damn!
They're coming.
Get the sheriff.
Tell him to get as many depties as he can.
All right, that's pretty interesting.
That's a famous Western based on an Elmore Leonard story before Elmore Leonard became Elmore Leonard, which took a long time.
It took a long time for Elmore Leonard to be recognized.
He was in his 60s before anybody knew who he was.
But it's a really good Western with Glenn Ford, a very interesting actor.
They kind of emphasize the character before they get to the action.
That was 1957, I think.
And so 50 years later, they remade it with Russell Crowe.
Let's take a look at that one.
It's probably cheaper just to let me rob the damn thing.
See which way road, Evans?
Fight me, we're headed to Bisbee.
Hands up.
22 robberies, over $400,000 in losses.
Y'all notice he didn't mention any of the lives I've taken.
We will have Ben Wade convicted and hanged, and we will pay to make it happen.
I'll come.
So, boys, where are we headed?
Taking to the 310 to you a day after tomorrow.
Should have told him now.
Relax, friend.
Now if we get separated, I know what I'm made up.
You just remember that your old man walk Benway to that station when nobody else would.
That was really interesting.
Much more action-oriented, totally masculine, no love interest whatsoever, which there was in the Glenn Ford version.
I like that remake.
I mean, the first one's kind of a classic.
It's kind of a, you know, it's old-fashioned, but it really rings.
I thought it was a good action film, but it's much more, that was much more of an action film and much more than the other one.
I guess they're heading toward that audience, but no reason to be cynical about it.
I think that was the story they wanted to tell.
Let's take a look at one more.
It's kind of interesting.
Before you lies the most glamorous city on earth, Hollywood, California.
A city where men and women skyrocket to fame or plunge to oblivion.
What happens amid the glamour of such famous gathering places as the Ambassador Pooh, the Tocadero on the Gold Coast of the film city, and the Brown Derby where famous stars meet, or in the gay setting of Santanita Park.
It's all a part of fantastic Hollywood.
Hollywood at playtime.
Here behind the walls of Selznick International Studio, we see Hollywood at work.
A new Janet Gaynor is in the making.
A Janet Gaynor never before seen on the screen.
Co-starring is Frederick March.
More likable, more swatchbuckling than ever before.
And now we take you behind the scenes.
Director William A. Wellman is guiding Janet Gaynor and Frederick March as they will appear in the David O. Selznick Technicala production, A Star is Born.
All right, Freddy, you know, you've been after the girl unsuccessfully.
So this time must be very tender, very earnest, and very sincere and rather quiet.
You already, Duke?
Right in the film.
All right, Rohan.
Janet Gaynor and Frederick March in A Star is Born give you a Hollywood the world does not know.
They answer for the first time a strange question.
What is the cold beer clutching at the hearts of the famous?
So that's the original Starz Boys.
Starsborn has been made, I think, four times.
That was the first one, 1937, Janet Gaynor and Frederick March, directed by William Wellman, one of the great not sung enough directors.
Fabulous movie, but you notice they could still say LA, the most glamorous place in the world.
Hollywood, the most glamorous.
Imagine them saying that today.
Hollywood, a place that burns down because we have no water, but the homeless people at least are taking over the streets.
So they emphasized, you know, they built Hollywood into what it was by controlling the lives of the actors, and they could sell it as we're going to take you inside that glamour.
Let's see another one.
We got one more.
Maybe it's time to live the always die.
Takes a lot to change, man.
Hell it takes a lot to try.
You know, man, in the old days, I always knew like you were going to do something, that you'd be all right.
It's the first time I'm worried about you.
Can I ask you a personal question?
Okay.
Tell me something, girl.
Do you write songs or anything?
I don't sing my own songs.
Why?
I just don't feel comfortable.
Why wouldn't you feel comfortable?
Almost every single person has told me they liked the way I sounded, but that they didn't like the way I look.
I think you're beautiful.
So that was the latest version with Lady Gaga and Bradley Cooper that moved it instead of an actor.
In the original film...
The point of the film, A Star is Born, is that the guy is fading.
His career is fading.
And the girl that he marries, who's now his wife, is on the way up.
And it ends with a famous moment when she says, I can't remember the name, but she comes out and the fans are surrounding her and her husband has killed himself.
And she says, my name is Mrs. Whatever His Name is.
In other words, she acknowledged herself as his wife, a scene that was stolen for Die Hard at the end of Die Hard.
And the stars went, you couldn't really tell in either one of those trailers what the story was about, but that's what it was about.
It's about the fact that a man doesn't like it when his wife does better than he is.
And that's a very hard story to tell today because you're not supposed to say it, though it remains completely true.
And then you could.
The two greatest versions of it, 1937, Janet Gaynor and Fred Marsh, and then a musical version was the 1954 with Judy Garland and James Mason, which is also fantastic.
So watch those.
Don't watch the modern ones.
There's another one with Barbara Streiser.
But yeah, really interesting, the different ways they sold it.
You could see a little bit more of what the picture was in that second one than you could in the first one, which was just selling the glamour of Hollywood.
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