It (A Film)

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Faneditor Name:
Original Movie Title:
Fanedit Type:
Original Release Date:
2017/2019
Original Running Time:
305
Fanedit Release Date:
Fanedit Running Time:
256
Time Cut:
49
Time Added:
5
Subtitles Available?
Available in HD?
Brief Synopsis:
It (A Film) is a fanmix/fanfix of It (2017) and It: Chapter Two (2019). Both films have been combined and restructured to follow Stephen King's novel as close as possible. This edit also intends to re-work Chapter Two to address some of the weaker aspects of the sequel and improve the film.
Intention:
The intention of this fan-edit is to incorporate the films It: Chapter One (2017) and It: Chapter Two (2019) into a single film that faithfully follows the structure of Stephen King’s novel.
Other Sources:
Benjamin Wallfisch - IT (Original Motion Picture Soundtrack)
Benjamin Wallfisch - IT Chapter Two (Original Motion Picture Soundtrack)
Neil Young and Crazy Horse - Rust Never Sleeps
Cecilia Bartoli - Cecilia Bartoli: A Portrait
Release Information:
Digital
Editing Details:
In preparation for this edit, I sat down to read Stephen King’s It, taking notes so I could edit both films to match the book as closely as possible. The goal was to either match the structure exactly, or (at the very least) find the analogous scene/components from the films to serve the same purpose. Part and chapter titles are included.

This edit is not only a fan-mix of both films, but also a fan-fix of Chapter Two. I don’t feel the sequel deserves quite the level of animosity it receives, but it’s fair to acknowledge it has weaknesses. At times, Chapter Two features humor that is either illy timed, or just simply falls flat; its adaptation of the Ritual of Chüd as a bizarre scavenger hunt for the adult Losers Club is silly; and the film’s attempts at call-backs to Chapter One can be superfluous or ham-handed. I attempt to address these issues in the edit.
Cuts and Additions:
Part 1: The Shadow Before

Chapter 1: After the Flood (1957)
The opening scenes between Bill, Georgie, and It after the flood have been reworked to match the flow of the book. The book begins with Georgie playing in the flooded streets, flashes back to his scene with Bill and his visit to the basement, and then continues with his encounter with It. The music has been changed to Für Elise to match what Sharon Denbrough plays on the piano in the book. Audio from the Saturday Night Live sketch “Little Richard Simmons” plays in the background during Bill and Georgie’s second conversation (a nod to the novel where the kids play Little Richard on the radio in contrast to their mother’s piano playing downstairs).

Chapter 2: After the Festival (1984)
Mike Hanlon’s introduction after the assault on Adrian Mellon has been removed.

Chapter 3: Six Phone Calls (1985)
The six phone calls Mike makes to the Losers Club have been reordered to match the structure of the book. Transitions between scenes have also been simplified (i.e., the stars above Ben Hanscom’s home don’t suddenly become the puzzle pieces to Stan Uris’ table, etc.). Chapter Two tends to get extravagant with its scene transitions and this edit simplifies many of these throughout.
The music during Stanley Uris Takes a Bath is replaced by "Caro Mio Ben" from earlier in the scene.

Derry: The First Interlude
The montage of Derry with Mike’s opening narration about ‘memories’ from Chapter Two is repurposed as Derry: First Interlude after the six phone calls. The shot of rushing water under the sewer is moved from the ending of Beverly Rogen’s scene with Tom and used here to transition back to 1958.

Part 2: June of 1958

Chapter 4: Ben Hanscom Takes a Fall
Mike’s introduction and his encounter with It is moved to later. Bill’s ‘experiment’ with his father’s maps and hamster tunnels is removed. Stan’s subplot about disappointing his father and his subsequent encounter with It is removed.
This section was difficult, as technically more should be done to match the novel. The book waits to introduce the Losers Club until Ben meets them after being chased by Henry Bowers, and Ben’s encounter with It is done as a flashback after he falls asleep in the barrens—but trying to match the book in this way jumbles the flow of the original film too much.

Chapter 6: One of the Missing: A Tale from the Summer of ‘58
The death of Patrick Hockstetter is moved up a scene to coincide with this chapter from the book. Hockstetter’s death in the novel of course is much later, and the chapter in question refers instead to the death of Edward Corcoran, but the available footage makes this section work analogously to what the book achieves.

Chapter 7: The Dam in the Barrens
The shot of Ben looking back when he hears Hockstetter’s scream is removed (it doesn’t work when Patrick’s scene is moved).

Chapter 8: Georgie’s Room and the House on Neibolt Street
This chapter begins with a deleted scene from Chapter One in which Bill attempts to discuss vacation plans with his grieving parents (matching a sequence from the book in which Bill notices his parents’ growing emotional distance from each other). Bill’s encounter with It in the basement is moved from later in the film to here.
Mike Hanlon’s introduction, and his encounter with It and Henry Bowers at the butcher shop, has been moved to after the basement sequence. This is followed by the kids swimming at the quarry, their discussion about the missing children at Ben’s home, Eddie’s encounter with It at the house on Neibolt street, Beverly Marsh’s encounter with It in her bathroom, and the Losers Club coming to help her clean the blood in Chapter 9: Cleaning Up.

Derry: The Second Interlude
The death of Victoria Fuller at the baseball game (analogous to Laurie Ann Winterbarger from the book) serves to transition us back to 1985.

Part 3: Grownups

Chapter 10: The Reunion
The brief flashback to Beverly signing Ben’s yearbook is trimmed. During the dinner, the banter between Richie Tozier and Eddie is slightly toned down. The discussion between Bill and Beverly about his ‘bad endings’ is removed (the edit tones down the ‘bad endings’ motif throughout). The scene in which Richie mistakes the young fan for It in disguise is removed. Mike sharing his discovery of the Ritual of Chüd is moved to later in the film.
The townhouse sequence is reworked. The brief flashback to Beverly in the deadlights is trimmed, but still verbally referenced. The Ritual of Chüd still isn’t discussed yet. Eddie’s “horribly” comment and the subsequent banter with Richie is removed.
The treehouse sequence is reworked. The flashback to the young Losers Club is moved to later. Richie imitating It in the shadows is removed.
The discussion about requiring “tokens” that the Losers must search for is removed. Mike refers to “pieces” more metaphorically here, and the eventual items the Losers Club collect during Walking Tours function more to symbolize their collected memories rather than be a scavenger hunt.

Chapter 11: Walking Tours
The walking tours are reordered to match the book.
Ben’s sequence at the school is first. Beverly telling Ben he’s “fat and disgusting” is trimmed (it’s enough that she turns him down and laughs at him before turning into It). Ben talking to himself in the locker is slightly trimmed. Ben calling out the rest of the Losers’ names when It taunts him is trimmed.
Eddie’s interaction with Norbert Keene at the pharmacy is removed. He instead approaches the counter, and the voice of young Greta catches his attention, serving to transition to his flashback. The song “Angel of the Morning” during Eddie’s fight with the leper is removed and replaced with part of the main score. Eddie comically attempting to open the door to the outside and his brief interaction with the adult Greta is removed.
The flashback of Bill and Beverly before the transition to Mrs. Kersh’s apartment is removed. The flashback Beverly experiences with her father while exploring the apartment is toned down. Alvin Marsh explaining to Beverly she will “never be like [her mother]” and the over-the-top perfume spraying is removed.
When Bill visits Second Hand Rose to buy back Silver, the shopkeeper’s opinion on Bill’s “bad endings” is removed. The brief flashback Bill experiences as he rides past his former home is removed. The flashback of young Bill yelling into the empty sewer and being taunted by It is removed.

Chapter 12: Three Uninvited Guests
Henry Bowers exiting the sewer, returning home and being arrested by police, and the flashforward to his residence at the insane asylum, is moved here. The quick flashback to young Patrick Hockstetter as Henry encounters the ‘undead’ Hockstetter is removed. Bowers’ escape from the mental institution transitions to a deleted scene from Chapter One in which Bowers applies Bactine to wounds from his father’s abuse. Bowers then briefly interacts with his father before joining his friends in targeting Mike Hanlon.

Part 4: July of 1958

Chapter 13: The Apocalyptic Rockfight
A truncated version of the clubhouse flashback from Chapter Two is moved to after the Losers Club befriend Mike once they have won the rockfight. The second part of the flashback (featuring an uncharacteristically hyperactive Eddie bickering with Richie and an equally uncharacteristic Beverly speaking with Ben) is removed.
In the scene where the Losers discuss It in the park, Stan’s reference to the “old woman” he sees is removed to be consistent previous edits. This scene leads to Chapter 14: The Album.

Chapter 15: The Smoke-hole
Mike and Bill’s interaction after the restaurant is moved here. This is where we are introduced to the Ritual of Chüd. This is another instance in which the scenes do not technically parallel the events of the book (many of the revelations that Bill experiences during his “trip” are done by the young Losers Club in the novel), but still serve to progress the plot in the same way.
Bill’s over-the-top “I don’t feel so good!” line has been cut.

Chapter 18: The Bullseye
After the Losers Club encounter It for the first time at the house on Neibolt St., the montage portraying their “split” has been rescored with Neil Young’s “Hey Hey, My My (Out of the Blue).” The song is referenced several times in King’s book, and this was a good place to incorporate it.
The chapter finishes with Eddie at the pharmacy learning about his “gazebos,” followed by Beverly being attacked by her father and kidnapped by It.

Part 5: The Ritual of Chüd

Chapter 19: In the Watches of the Night
Back at the townhouse, Ben and Beverly’s scene is moved to before Beverly and Bill’s scene. The flashback to young Bill and Beverly kissing before they kiss as adults is removed. The skateboard that warns Bill that the kid he met is going to die, and the subsequent scene at the carnival in the house of mirrors is removed.
After Henry Bowers attacks Eddie, the brief flashback Ben experiences as he watches Henry escape is removed.
Richie’s montage driving by the synagogue as he reconsiders his decision to abandon the rest of the Losers is removed. The sequence itself is a bit corny, and it makes his return to save Mike in the next scene more surprising.
After the Losers arrive at the library to save Mike from Bowers, the scene ends after Mike remarks: “Where’s Bill?” and the scene in which Beverly calls Bill at the festival and he states his intentions to fight It alone is removed.
The edit transitions back to 1958 to the scene in which Bowers is humiliated by his father in front of his friends, and the following scene in which he receives the switchblade in the mail from Robert Gray. Henry then murders his father.
Since Beverly’s kidnapping has been moved to earlier, the film then picks up from Bill’s discovery of Beverly’s disappearance, and his attempts to collect the remaining Losers to come to her aid. The deleted scene featuring Henry waiting for the Losers outside the house on Neibolt St. is reinstated. The chapter finishes after Henry’s attack on the Losers in the basement at Neibolt.

Chapter 20: The Circle Closes
Back in 1985, the Losers meet Bill at the house on Neibolt St. Bill saying, “Richie said it best,” and the exchange with Richie, is removed. Richie simply proclaims “Let’s kill this fucking clown” after Mike states to Bill they’re going to work together.
Some of Richie’s “quips” or side comments are toned down during the fight inside Neibolt. Bill’s over-the-top chastising of Eddie is toned down, and Eddie’s overly on-the-nose call-back “Please, don’t be mad, Bill,” is removed.

Chapter 21: Under the City
This chapter begins with Beverly’s encounter with It in the cistern after she has been kidnapped. A deleted scene of the Loser’s finding Georgie’s walkie-talkie follows.
Back in 1985, the adult Losers make their way to the cistern. Eddie’s cowardice is again edited to be less over-the-top. Some of his monologue to himself while the Loser’s are underwater saving Beverly is trimmed, as well some of his explanation as to why he can’t go on to It’s inner lair is removed. Richie’s explanation to Eddie as to why Eddie is “braver than [he] think[s]…” is trimmed to be—again—less over-the-top.
In 1958, Stanley and the Loser’s encounter the old woman in the sewers (analogous to the golem Stanley encounters at this point in the book). This is followed by Bill entering the cistern and the Adult Losers making their way to It’s inner lair. Bill and the young Losers help Beverly down, and Bill’s confrontation with It disguised as Georgie finishes the chapter.

Chapter 22: Ritual of Chüd
The movie deviates from the book more dramatically in these final chapters. The goal then becomes to accomplish the accelerated cutting between timelines as it occurs in the book and find appropriate “match” edits in order to transition between timelines in a logical and interesting way.
As the ritual begins, The Losers’ “tokens” are again referred to more metaphorically, and side comments from Eddie and Richie as to whether certain items will burn is removed. The balloon explosion transitions back to 1958, where Bill watches Georgie’s dead avatar turn into It. The initial fight between Bill and It transitions back to 1985, where the Losers are confronted by It and become separated. Back in 1958, It gets a hold of Bill and offers the rest of the Losers his “deal” to take only Bill.
Bill’s scene watching himself and Georgie in the basement is removed. The scene’s inclusion subverts the emotional resolution established when young Bill shoots Georgie’s avatar moments before. The sequence in which Eddie and Richie revisit the “doors” set piece from the first confrontation at Neibolt is removed. The humor distracts from the confrontation, and the call back is unnecessary.
The quick flashback showing the entrance to the cavern when Beverly refers to making It small is removed. After the adult Losers are cornered by It at the entrance to the cavern, the edit transitions back to 1958 for the final confrontation sequence.
The final fight in both timelines is intercut through four main sections 1) The Losers stand up to It with their newfound collective belief and trust in each other, 2) The fight turns the tables to put It into a state of fear, 3) The Losers finish It, 4) The Losers embrace in the catharsis of their victory. After the fight, the adult Losers escape the sewers.

Chapter 23: Out
The final chapter begins with the promise scene between the young Losers, followed by the quarry scene with the adult Losers.
After the adult Losers see their younger selves in the shop window, the remaining scenes are replaced by a final montage set to Neil Young’s “Hey Hey, My My (Into the Black).”
Opening

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I think this a great way to go back and watch these films if you haven't done so in a while. Now I've got 1 positive thing to say and 1 less positive thing to say.

Connecting the two movies was going to be tough but I think it's done really well. I think the best thing to come out of merging the films is the relationship between Richie and Eddie. When I saw the second film for the first time the ending didn't really effect me too much but here I almost teared up. Having the films together allowed me to pick up on things I might've not noticed if they were separate. Good shit.

The less positive thing to say was there were a few instances where the jumping between timelines got disorientating. There was one scene where Henry came out of the sewers before he even entered them. I actually thought the film skipped ahead before I realised it was the second timeline and it needed to be there to make that timeline make sense, but still confusing. Also by the end the two films would jump back and forth quite quickly and I did (just a little bit) get lost. Though I am an idiot so it might just be that.

If you've seen these two films before and wanted to revisit them, then this is a must watch. If you're showing someone this film who has not seen the original two then they will probably get lost at a few points.

That's all I got, genuinely loved this edit, great job Paulisdead2221!

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This was just such a joy to watch. It was clearly made by a fan of both the source material and the new films and gave such great attention to the narrative structure. The chapters were just the icing on the cake for a huge IT fan. Kudos!

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(Updated: April 29, 2022)
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I’ve been desperate for the fabled 6+ hour IT Supercut but at this point I doubt it’s going to happen so I’ve decided to dip my toes into the world of fanedits. I watched both IT: The Bookish Cut and IT (A Film), both attempting to combine IT: Chapter One (2017) and IT: Chapter Two (2019) into a single film but with different goals and methods. I will be reviewing each movie separately but as I watched them so close together there will be some elements of comparison. This review contains spoilers for the original films and the book, and goes into more detail about specifics in the edit.

IT (A Film) (4:14:40) is edited drastically differently from the original films from the very first scene, completely changing the order of the film's events, adding chapter and title cards and including audio and music not present in the original releases. This works quite well throughout Chapter 1: After The Flood, but the focus on Mrs Denbrough’s piano leads to a some audio weirdness where in-scene audio of Georgie running down the street is muted in favour of the new audio. I would prefer to hear the piano fading into the distance as Georgie runs down the street and keeping the original audio, but the way it fades out in the edit as Georgie peers into the storm drain is quite effective. The creepy circus music/children chanting in Chapter 2’s opening is also replaced with music that flows into the Six Phone Calls section.

The introduction of the adults in (A Film) is re-ordered to better follow the order of the book. Starting with Stan’s suicide is definitely very effective but the new music is a significant step back from the emotionality of the original scene. Another downside is that there were a few very fun transitions the original movie had that have been removed because the scenes have been re-ordered, which is unavoidable but still a shame.

The transition from the adult introductions to the kids is really great, using a bridging monologue from adult Mike over an aerial shot of Derry moving into a storm drain and the roaring of the flooding water rushing through the pipe to transition to the loud ringing of the school bell. This was a real highlight and made me excited to keep watching after my disappointment with the audio editing of the first few chapters.

A surprising amount of Chapter One is played uninterrupted from here (up until the bathroom cleaning scene). The cut from Bill and Bev in the bathroom into the second interlude was incredibly harsh, probably the most jarring visual cut in the edit, but the harshness isn’t as much of a problem when cutting to an unrelated interlude as it would’ve been to a related scene. I was happy to see the Vicky scene included here, even though its inclusion represents the unfortunate lack of the Black Spot (which wasn’t included in the films).

The reunion being placed about one third of the way through the edit feels really good even though it was a little rough cutting from the middle of chapter one for the interlude and this scene. Having the reunion before the apocalyptic rock fight (where Mike joins the loser’s club) was never a problem for me in the book either but as the movies weren’t originally made with this kind of intercutting in mind it does feel a little strange having Mike be the current leader of the group. It doesn’t harm the scene at all and isn’t the fault of the editor, it just feels a little strange. Cutting the interaction between Richie and the kid is probably best to trim down the runtime and makes it seem like they might’ve been kicked out of the restaurant, which was funny. I would’ve liked the shot of Stan’s corpse in the bath to be extended beyond the flash we got originally because it is hard to catch the details like ‘IT’ being scrawled on the wall in blood due to how suddenly and quickly it flashes up and disappears.

The ritual of Chüd explanation being moved to later allows the movie to flow quickly into the Walking Tours, which have also been rearranged to better match the book. The order was rather arbitrary in the original film (there were a lot of cut scenes from this section that were never released but teased in the behind the scenes book) so this doesn’t suffer from losing particularly cool transitions like their re-ordered introductions did. The edit also moved the clubhouse flashback (or at least some of it) to fit in with Chapter One footage later, which makes the location change from the hotel seem arbitrary. Having this sequence set before the midsummer breakup of Chapter One is also a little strange for some of the characters due to the way the movie was originally put together, but it’s not too bad. A few wonky feeling edits here due to the excision of some content but mostly fine.

Subbing in the projector sequence for the missing photo album sequence from the book/miniseries was genius, it honestly never occurred to me before but now it seems obvious.

The rearranged library sequences really reminded me how sad I was that Ben’s library scene and the group library scenes weren’t adapted for the movies. The ritual of Chüd
smokehouse sequence would’ve been fun to see too but oh well. Maybe in the next adaptation.

The combined climaxes were very slickly edited. This is probably the most technically impressive sequence in the fan edit (though the transition I mentioned earlier was inspired, it wasn't an extended, complex sequence). The Chapter Two sequence is significantly trimmed, removing the overcoming trauma scenes and jokes that don’t directly involve Pennywise to focus on the main battle itself. This keeps the section from feeling bloated when combined with the Chapter One Pennywise fight but does reduce the thematic throughline of the films.

This edit both worked better than I expected but also conflicted with itself more than I had hoped. I think the editor did a commendable job and made some really snazzy edits, particularly the transition from the adult introductions into the school scene and the final action sequence, but the fact these movies were never intended to be cut together this way and the story was changed from the book means that you can really feel the scars the cuts have left. The weird audio in the first chapter, the replaced music for Stan’s suicide, the harsh cut to the interlude and an early dialogue edit (that I will cover later) are the only real problems with the edit that might be solvable with more time in the editing room without access to the deleted scenes from Chapter Two.

Aside from a few creative changes that didn’t quite work, the edit here is very well done considering the challenges and I think it mostly succeeded in its aims to more closely follow the book. I would recommend (A Film) for book fans in particular, even if they didn’t like the movies. It probably won’t change your mind but it is very interesting. I would definitely advise people watch the original films before this edit because although some of the content that was cut isn't necessary for this edit (or wasn't in the book) but is still important to the themes of the characters in the movies and the characters might feel undercooked without the background of the novel and the full films.

Edit comparisons:
Watching The Bookish Cut and It (A Film) so closely together was very interesting as the editors made different decisions with the same footage. Much of it was due to different goals but some differences were some changes that both editors made that altered characterisation or left something in that I expected to be cut. I’m sure there are many small interesting differences I missed over the 8+ hours I spent watching these edits, but these are the ones that stood out:

The Bookish Cut and (A Film) both cut a different part of Adrian’s line to Vicky with The Bookish Cut making Adrian seem much friendlier (“Hey, thanks for letting me win”) and (A Film) choosing to make him seem much more standoffish (“Hey, girl. You want this?”). I significantly prefer the characterisation of The Bookish Cut here.

Both edits use a stormwater drain to transition from the adult introductions into IT: Chapter One but (A Film) does so significantly better, using a bridging monologue from adult Mike and the roaring of the flooding water rushing through the pipe to transition to the loud ringing of the school bell. A Bookish Cut’s transition uses a cross dissolve from the end of adult Beverly’s introduction into the camera flying from the sewer out into the barrens from Chapter One’s title card and another cut into the slaughterhouse scene with child Mike.

Both edits removed the reveal of Richie’s “dirty little secret” from the end of Chapter Two which was a shame. Making Richie explicitly homo/bisexual is one of my favourite film additions. It’s how I viewed the book character anyway so it was good to make it explicit.

Both edits made the captains call to keep the worst CGI in either movie, where Pennywise’s face melts while yelling “COME BACK AND PLAY!” to a fleeing adult Richie. It would probably be pretty hard to cut but I would’ve liked it gone.

Both films kept most of Chapter One (including reinserting deleted scenes) but both removed sizeable sections of Chapter Two. A bookish cut kept all of the Loser's subplots except the ending of Richie's, but (A Film) excised entire characters and subplots. Both edits removed a child murder from Chapter Two but they each removed a different one.

The Bookish Cut’s faithfulness to the format of the original films made for a smoother watching experience despite not having as much editorial flair. (A Film) is very interesting and has some really skillful and stylish editing, especially the final sequence, but the films don’t lend themselves as well to being rearranged into book sequence as they do a more simple blending of the two, at least not with the footage currently available.

Link to my review of IT: The Bookish Cut: https://ifdb.fanedit.org/it-the-bookish-edit/discussions/13640/

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I quite liked this version of the film, although for the frequent consumer of fan edits some cuts are evident, I feel that they do not kill the passage of the film, having said that this edit gives a lot more sense to the story, especially to the second part and transforms it into a more faithful adaptation to the book.
The only point that I would have liked to move on the timeline is when the bully survives the fall and is arrested by the police. I feel that It would have been better positioned almos at the end of the film.

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Let me get this straight right from the start. This is a masterpiece! A true MASTERPIECE! I cannot even fathom the amount of work and devotion spent by Paulisdead to pull this off. For a long time I was just looking for a fan-edit that could save Chapter 2 from mediocrity and I've now found an almost definitive adaptation of the book. And that "almost" part is not even the editor's fault. More like the original source's which strayed in a number of occasions (mainly in Chapter 2) from the source material a little too much.

The pacing issues I had with Chapter 2, now that the two parts are integrated into one film, are gone. The "jokey" parts of Chapter 2 also gone, either because the were completely cut or because the feeling is completely different with the right twists (yes, I'm looking at that 'Eddie is choking the leper' scene!). The cuts between the two timelines are phenomenal and logical - I especially want to congratulate Paulisdead for his series of INGENIOUS cuts during the two final battles with Pennywise, as the action comes back and forth constantly. That was some masterful editing and I cannot imagine that anyone who's not familiar with the two films would ever believe that this isn't the original cut. The subtle, additional nods to the book (Für Elise) makes it an even better experience.

All in all, this is fan-editing at its very best. Whether you were looking for a bookish cut of the two films or you just liked Chapter 1 and were disappointed by Chapter 2, this is a must watch for you.

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