Welles utterly despised the music in LFS, forced upon him by Columbia, which was composed by Heinz Roemheld, a guy who appears to have been little more than a studio hack. I have a couple documents Welles sent to Columbia detailing his displeasure over the music, and it appears that Welles had a plan for the music similar to Touch of Evil - lots of diegetic sound, and music more indigenous to the settings. He also suggested what should have been done, similar to Touch, but was basically ignored. It's amazing the picture turned out as well as it did, considering everything.
The original scripted ending to LFS was also more interesting; in it, Michael urges Elsa to shoot herself with the final bullet in her gun; after Michael exits the funhouse, he hears a single gunshot. The Hays Office nixed that ending because it meant Michael got away with murder, in their eyes.
I would also agree that Shanghai didn't have nearly the destruction wreaked upon it that Ambersons did; looking at the script, I was expecting huge swaths of dialogue and story hacked out, but that wasn't really the case. While Welles re-wrote much of the dialogue and there are trims which may have been Welles and may have been the studio, most of the scenes themselves are there. The film wasn't gutted like Ambersons, certainly.
Edited By Jeff Wilson on Oct. 25 2002 at 09:38