The Hearts of Age
Mallarmé’s
bell-ringer, the spinning world, that certain smile of Leonardo’s,
“the white keys and the darkies”.
Too Much Johnson
Stroheim themes,
an arranged marriage, dalliance and revenge, closing on a parody of Greed. The
lover who absconds with an extension ladder all the way to a Carib isle and a ranchero...
The makings of a
masterpiece, Gillette’s play, entr’actes ŕ la Lulu, 16 fps workprint with some overcranking ŕ la Clair and an awareness of Murnau,
among other things. Situated visibly between The Hearts of Age and everything else
amply foreseen, also Norman Foster’s Journey
into Fear.
Hopper’s
old New York for the rooftop pursuit (cp. Killer’s
Kiss, dir. Stanley Kubrick). Richter’s Vormittagsspuk
with the hats, Wyler’s The Big Country in the duel, Terence Young (Red Sun) and Beckett by way of Laurel and Hardy (and Godard vocal
exercises) for the Cuban finish. Largely invented on
the spot, which is frequently how silent film comedies were made (cf. Chaplin’s work reels).
A “rough
guess” edit with titles added conveys the idea even without Paul
Bowles’ score (not Banburying but Lounsberrying, etc.).
Citizen Kane
“Lady
disappears from Brooklyn, might be murdered!”
“1941’s
biggest, strangest funeral.”
“Communist.”
“Fascist.”
“An
American.”
“A
cross-section of the American public.” Mr. Smith Goes to Washington (dir. Frank
Capra) on much the same terms. “Sentimental
journey,” interrupted. “Boss Jim Gettys’ political machine, now in complete control of
the government of this state!”
“BRILLIANT
DIVA PLANS TO DEFY OPERATIC TRUST” (San
Francisco Inquirer). “He never threw anything away.” As
Huckleberry Finn the movie critic would say, “you don’t know about Citizen Kane, without you have seen a
G.W. Pabst film by the name of Pandora’s
Box” (also Howard’s The
Power and the Glory, Ford’s Stagecoach,
etc.).
The
best analysis is in The Immortal Story,
by way of The Lady from Shanghai (cf. Crichton’s The Divided Heart).
“L’absente de tous bouquets.”
“Some
leaders of the industry say privately that Orson Welles must be stopped. Whether they will join hands with William Randolph Hearst
to do the job remains to be seen” (The
New Republic). It woke up Bosley Crowther from head to heels, “it has more vitality
than fifteen other films we could name” (New York Times). Variety, “will stimulate keener creative efforts by
Hollywood’s top directors.”
Truffaut,
“this film has inspired more vocations to cinema throughout the world
than any other.”
Rosebud,
neither the President’s niece in the one case nor a little soprano with a
toothache in the other, “the Union forever!” A
burlesque.
The Magnificent Ambersons
“If you
need money.... go to—Blaize’s”.
“They
didn’t want him back, of course.”
The automobile.
A full sixty
minutes have been removed, which is to say forty percent of the picture.
Torso as it is,
we are used to such things. Mighty aware that jot and
tittle matter not a little, that abbreviating a work “lengthens it
only” (Schoenberg), that Shakespeare’s last curse falls upon the
mutilators of his tortured œuvre.
Sculpturally,
this is an improvement on Citizen Kane,
whose formal innovation was carefully reflected in the script of The Best Years of Our Lives, as it was
foretold in the Garbo Anna Karenina,
but here analysis of the completed work is unavailable to us, and restoration
seems an unlikely proposition under the present circumstances.
Poetically, the work incorporates the careful ambiguity of Kane
in a painstaking study of immaturity. It is possible
to imagine Resnais departing the storefront tracking shots sans Baxter &
Holt.
Of course, as
before, Welles takes the mickey out of the device as far as possible,
Morgan’s fall into his bass viol precipitates Isabel’s marriage to Minifer, whose investments bring down the house and effect
George’s enlightenment.
So much for that. The opening titles (cf. Citizen Kane) are a
hallmark of style visible through Preminger’s The Court-Martial of Billy Mitchell and Kubrick’s 2001: A Space Odyssey, that great
Biblical epic. The famous end titles are perhaps a
justification of a Radio Picture.
The quick-change
act at the beginning is borrowed from Keaton, who learned his art from Méličs,
who is playing at the Bijou. Similarly, the rise of
the automobile is seen reflected in shop windows. Major
influences are in Amarcord, Daisy Miller, Wise Blood, and Fanny
and Alexander.
It’s All True
A documentary
style (“Four Men on a Raft”) instantly akin to Paul Strand or
Emilio Fernandez. Fishermen hew together palm logs for
a sailing craft, a fleet of these bring in the catch
of the day.
Further
illumination and some tantalizing footage are to be found in the 1993 Paramount
treatment “based on an unfinished film by Orson Welles”, a
Technicolor manner of filming the samba ahead of Black Tights (dir. Terence Young), for example, “The Story of
Samba (Carnaval)”.
Bits of Norman
Foster’s “My Friend Bonito” suggest Eisenstein and Bresson,
Welles has Flaherty and Ford in mind...
Death of the
fisherman at sea, return of his body to the shore. A
masterwork to vie with anything in the world’s cinema. Voyage
to the capital.
The metaphor of
the desert reverses the joke in Too Much
Johnson. In Brazil
(“it was edited by Time-Life Books and they changed a lot of it”),
Elizabeth Bishop relates one of the national jokes, “Brazil is the
country of the future and always will be” or something sim’lar.
The Stranger
The lackey leads
you to him, therefore the lackey is destroyed.
What happened to
Welles at RKO in the name of common sense and the bottom line had the ring of
order and truth about it, he can see with obliging moral ardor how it happens
here.
Hitchcock’s
Shadow of a doubt sized up the war in
Europe as unthinkable at home, similarly.
The death of Meineke takes place at the end of a long crane shot
(high-angle, slow dolly left, to low-angle) that occurs with great
effectiveness in Huston’s The Bible twenty years later,
immediately after Cain murders Abel (Huston’s shot dollies right).
There is much
inspired camerawork throughout this brilliant film, often using the crane, and
a really useful idea of composing a scene or a shot as a sequence of moves that
edit in the camera by combining several setups, as in the scene of
Kindler’s false confession at the church halfway through. Various of these aspects have been highly influential.
Welles’
evocation of a New England town with an academic component is strikingly
Nabokovian, to such a degree that one might think a theoretical possibility of
influence exists (they have in common Edgar Allan Poe, whose story “The
Devil in the Belfry” is probably the ultimate source of The Stranger).
And of course,
the released film was reportedly cut by as much as one-fourth.
Frankenheimer in The Train establishes the terms of an
equation Welles cannot for reasons of personal discretion or propriety.
“People
can’t help who they fall in
love with.”
“...
I was a student in Geneva,
there was a girl...”
You will see how
the technique extends from Ford’s editing in the camera to Losey’s
exploration of a variously lighted set (e.g.,
The Sleeping Tiger).
A great student of this is Satyajit Ray (e.g., The Home and the World).
The revelation
comes at a screening of film footage.
The German clock
strikes eleven.
Bosley Crowther of the New
York Times saw the director stabbed by “a critic, no doubt,”
and was convinced, he tells us, the film was “boyishly bad... highly incredible...
weak... silly... farfetched... routine and mechanical... a bloodless,
manufactured show.”
Variety
could not be taken in, “socko melodrama... hard-hitting script...
relentless pace... a uniformly excellent cast... some of their best work, [Loretta
Young] being particularly effective.”
Emerson in the
woods, “there is no den in the wide world to hide a rogue.” Great score by Bronislaw Kaper. The
Golden Lion at Venice did not go to Richter or Sjöberg or Reed, and not to
Fernandez or Zampa, either.
Dave Kehr (Chicago Reader)
and Tom Milne (Time Out Film Guide)
follow Variety, disappointedly. Halliwell sides with Crowther
and gives Basil Wright’s unfortunate denunciation as well.
A beautiful
masterpiece.
Bresson remembers
Kindler’s hurried exit in Une Femme douce. “I came to kill
you.”
“...I
followed orders.”
“You gave the orders.”
The Lady from Shanghai
“Well,”
says Mr. Michael O’Hara, remembering his time aboard the Circe, “it’s clear now oy was chasin’ a married
woman,” out of New York, bound for San Francisco by way of the Canal.
It was none other
than Herman J. Mankiewicz, Academy Award-winning screenwriter, who imagined
“the whole world wired to Harry Cohn’s ass!”
O’Hara at Acapulco, “it’s a bright, guilty
world.”
After the war,
even after the Spanish Civil War, a turn of events. Touch of Evil, running through the town.
This bears on The
Immortal Story, but as released most closely resembles Huston’s The
Maltese Falcon with a considerable influence of Hitchcock.
A tale as it were of Spain, and sharks. Variety
found it arty, the New York Times “sloppy”.
The scandal of
its mutilation by the studio, reportedly on the scale of The Magnificent Ambersons, is unspeakable. It
opens on the river and Brooklyn Bridge at night. There
is the delicate cranework used expeditiously. During
the voyage it anticipates L’Avventura.
O’Hara, a
brilliant character in an epigrammatic script, sums up his environment with a
tale of feeding frenzy. Before Winter Light, “the end of the world”.
The hilly seacoast of Beat the
Devil. There is the town by night from the hills,
and Rita Hayworth skittering along the bottom of the image, then descending out
of frame.
Again, at
Sausalito, the characteristic low horizon is a small dock emanating from the
right, with a small boat dancing on the bottom of the image, left. “I don’t want to be within a thousand miles of
that city or any other city when they start dropping those bombs,” says
lying Grisby.
Everett Sloane
invents Marty Feldman, or someone very like him. An
octopus falling and rising announces the celebrated aquarium sequence.
Ted de Corsia is Paul Stewart in Citizen Kane. The voice of the serpent in
George Pal’s 7 Faces of Dr. Lao
is heard. “Oh, Fassbender!”
An excruciatingly
slow dolly-in on Sloane and Hayworth in a two-shot finally separates them at
either side. The courtroom scene is a masterpiece of
revelation by composition. A courtroom as small as a cineplex, where a woman is observed carefully placing a bit
of rubbish under her seat.
The judge in
chambers moves his chess pieces before a window on the city. O’Hara’s
furious escape finally breaks free in a great release of energy to an exterior. Chinatown, Welles in the theater.
“Stand Up
or Give Up” in the Crazy House. “If you
were a good lawyer, you’d be
flattered.”
Macbeth
After the war,
there is enough blood for every line. On the sound
stages of Republic, Welles builds the world of She (dirs. Pichel &
Holden) that must have beckoned him to RKO. Cacoyannis’s Electra shows the deed a feminine
rage that afterward crumbles, and the oracles are elsewhere in his line. The pivotal film, turning with the camera-editing of The
Stranger and certain qualities of his Republic set to the later Welles
style.
Variety was first made aware that it was watching Shakespeare,
and on top of that with Scottish accents. Variety
protested most vociferously, the film was hacked and re-dubbed.
The Tragedy of Othello, the Moor of Venice
Welles is in
exile, extremely fortunate. The editing is rapid,
exceedingly bold. The nature of the view is that
suspended cage, drawn from Crosland’s The Beloved Rogue with John
Barrymore as Villon.
Othello’s
occupation’s doused, silver sail or “blanc souci”, he dies thereon.
The “lost
masterpiece” was seen in the Eighties magnificently well (before the
bruited restoration). “My heart is full,”
says Emilia, like Welles at the AFI podium.
Mr. Arkadin
The king’s
secret is stated in the sequence of vignettes that are the core of the film. The flea circus is the gang Arkadin belonged to. The antiques dealer symbolizes mere acquisitiveness. The Baroness marks the acquisition of taste. The heroin addict Oscar is mere craving, and Sophie is the
exercise of power. Finally, Zouk
is old age, pining for a goose liver.
The masked ball
sequence is Goya. The waist-high upward-tilted camera
fixes many a shot like Gaudí. Significant influences
are in Fellini’s Amarcord,
Reisz’s The
Gambler, and Polanski’s Chinatown.
A film situated
in every sense between Citizen Kane and The Immortal Story.
Orson Welles’ Sketch Book
An amazing Wellesian performance, he draws excellently well to
illustrate his stories, here is the witch doctor that killed Percy Hammond
(“a Broadway legend”), another that spiked It’s All True after a new junta took over at RKO.
False noses are
his forte, he explains.
Around the World with Orson Welles
The Basque
Country
Pigeons like
quails, a sheepherder home from Colorado, the isolate language, something of
the history, an American journalist and her son living there, modern history,
the Pentecost feast, the toro de fuego, pelote, church on
Sunday, champions and varieties of pelote, a late friend.
The Fountain of Youth
The extremely
subtle theme is related to Vincent Sherman’s Mr. Skeffington and only revealed at the last moment.
Rick Jason
describes the technique in his autobiography. “To
shoot a scene, there was a slide projector sixty feet or so away from the
camera that projected the still onto a huge opaque screen (which more than
filled the camera lens) in front of which we worked. A
few pieces of furniture, or whatever were required in the foreground to dress
the set, completed the arrangement. Most scenes were
in either medium or close shots and, rather than cut from one scene to the
other, Welles had the actor stand in place while the opaque screen behind him
dissolved to the new scene. If the actor was going
from an exterior to an interior, the lights on him would go dark, leaving him
in silhouette during the backscreen dissolve. As the background changed to the interior, the lights came
up on his face and he removed his hat and coat as the camera pulled back
revealing the new interior set.”
Viva Italia
Lollobrigida, interviewed at home, by way of De Sica and Brazzi and Subiaco.
“The
Italian public”, producers, taxes (Welles, Cocteau,
and who was it, Buńuel, talking about money at a sidewalk café).
Welles the
magician, Fellini’s cousin, extrapolating his “Portrait of
Gina” from a hat.
Touch of Evil
“All these
years you been playing me for a sucker, faking evidence.”
Death of the
town’s leading citizen, prosecution of a leading drug trafficker, the
action on either side of the border. There’s an
awful lot of Grandes, as Vargas points out. You put one away in Mexico City, sure enough there’s
one on the periphery.
The up-angle of Mr. Arkadin. Pans
from tight compression to infinite expansiveness or the other way around. Two shadows on a wall (Reed’s The Third Man), oil derricks in the receding distance, Vargas in
the middle scuttling away. Quinlan in a night
exterior, palm tree behind him in the desert breeze waving like peacock
feathers. The
Stranger’s crane now fully active, acknowledged on a billboard. The border town arcade firmly ensconced in the convertible. Psycho finds a
key element here, with a characteristic Hitchcockian acknowledgment. The long takes accomplishing the interrogations are
intensely brilliant camera articulations, matched by a cut to an exterior (The Lady from Shanghai). W.C. Fields (played by Ralph Richardson), Edward G.
Robinson (Akim Tamiroff), Leo Gorcey for
“Pancho”. The very last shot replaces the
cypresses at the end of The Third Man
with oil wells.
The gypsy
(“in a quaint caravan there’s a lady they call the gypsy”)
walks in from “The Waste Land”, not to say Golden Earrings (dir. Mitchell Leisen) and more obscurely Rancho Notorious (dir. Fritz Lang). A touch of Ansel Adams on the desert. Fleischer’s
Mr. Majestyk
on the blind girl. Coppola and Scorsese remember the
stricture, “nobody in the Grande family gets hooked.”
The memory of two scenes goes very deep with Tony Richardson, the rear
view of the stripper’s gams and feet (Mademoiselle) and the long wandering
pursuit with a microphone (Laughter in
the Dark). Raoul Lévy makes an extensive study of
the Mirador in The
Defector.
Godard, Ten Best
Films released in France that year, with Mankiewicz, Bergman, Preminger,
Becker, Astruc, Anthony Mann, Villiers,
Visconti, and Carbonnaux. Truffaut,
“well, you might say, what a fuss over a simple little detective story
that Welles wrote in eight days, over which he didn’t even have the right
to supervise the final editing, and to which was later added a half-dozen
explanatory shots he’d refused to make, a film he made ‘to
order’ and which he violently disavowed.”
“By this
standard and many others, Touch of Evil
and The Lady from Shanghai are
superior to The Trial” (Andrew
Sarris, The American Cinema).
Howard Thompson
of the New York Times, “a
brilliant but obvious bag of tricks.” Variety, “smacks of brilliance but
ultimately flounders in it.” Roger Ebert (Chicago Sun-Times), “is there a
resonance between the Welles character here and the man he became?” Michael Atkinson (Village Voice), “a grimy, disreputable thing”. Leonard Maltin, “stylistic
masterpiece, dazzlingly photographed”. TV Guide, “bizarre and
twisted”. Brad Stevens (Sight & Sound), “an especially appropriate non-finale for a group
of films chiefly concerned with the difficulty of defining borders between good
and evil, hero and villain, cop and criminal, democracy and fascism, often
insisting that these divisions are neither neat (good and evil being relative)
nor straightforward (perhaps it is the cop rather than the criminal who is the
true fascist).”
Time Out, “plays
havoc with moral ambiguities”. Catholic News
Service Media Review Office, “stylish crime thriller”. Halliwell’s
Film Guide, “hardly the most auspicious return to Hollywood for a
wanderer,” citing Gerald Weales (Reporter) on “balderdash”.
The Trial
Kafka’s
joke is sustained very brilliantly, a dick is in
Joseph K.’s view down the bed when he awakes
after a dream of the impenetrable Law.
Nothing will
enlighten K. as to the nature of the case (viz. the critics).
Finally, to paraphrase Archie Rice, his boiled eggs take the top off of him.
Welles’
greatest film before Chimes at Midnight, he presents you with an
excruciating comedy from an author of great sensibility and refinement, who is
said to have roared with laughter when reading his work aloud.
“The most
hateful, the most repellent, and the most perverted film Welles ever
made” (Andrew Sarris, The American
Cinema).
Chimes at Midnight
The great battle
between Hotspur and Hal is deeply famous, the second battle is with Falstaff. He’s Santa Claus in the American sense at first sight, some other person as gradually appears.
The fame of it
meant that a restoration should be called for, Bosley Crowther having banished
it from his realm.
Vienna
Eight minutes on
the city that is Senta Berger.
The Immortal Story
Welles filming in
color begins where he began, with Citizen
Kane.
Music by Satie.
Don Quixote
The greatest
treat in all the world. Fourteen years to catch up
with Pabst is no mistake. Even this rough and partial cut,
very pure Welles, is a work to be regarded in some awe. There
is Welles taking one of his Eisenstein shots, and there is the shot.
Some of it was
voiced by Welles as Sancho and the Knight of the Mournful Countenance, some by
other actors. The footage is variable, from different
sources. It’s Spain, and “the most perfect
gentleman”, and the squire.
Television,
rockets, and the moon, even a Vespa (the devil carrying off a damsel), even
Saracens.
“Piss off,” the fiesta crowd tells Sancho Panza,
“you’re in the way!”
Moby Dick
“The
phantom of life.”
Every note in its
place, from this reading.
London
After The
Fountain of Youth and Vienna, Welles well on his way to F for
Fake.
The Other Side of the Wind
An exacerbation
of film editing is visibly continued in two sequences on the Press (Citizen
Kane) surrounding a famous film director and a latent Byronism (The
Trial) dropping its other shoe in the rain on a speeding car while the
driver stares straight ahead through the windshield.
F for Fake
The title does
not appear anywhere in the finished film but in the trailer, a ten-minute featurette that fleshes out the film itself in the form of
a bravura introduction or overture, bringing the total time invested in the
evening to ninety-four or ninety-five minutes, if that can be arranged.
Close attention
must be paid to every detail of the work, such as the magic trick at the very
start, which reproduces exactly the sense of the three-way colloquy at the end
re-enacted by Welles (as the art forger) and Oja Kodar (as herself and Pablo Picasso).
Clifford Irving
and Elmyr de Hory portray
themselves as fictionists of two sorts, the sham writer and the art swindler. What happens next is strange, Chartres, an unsigned
masterpiece. And then you get the story of Oja and Pablo, who started to paint her and met her
grandfather.
The television
work done by Welles is perhaps too little-known even now to serve as a general
preparation for such a profound study as this, which appears to have swiftly
floated by its audiences and critics as a phantasm.
Filming Othello
Welles’
second version of Othello is imparted
by him at a Moviola, he gradually evokes the main themes of jealousy and envy
in such a way as to make the spectator feel them impinging on his very existence,
yet there is only himself and Micheál MacLiammóir and Hilton Edwards (the three
on film) talking about the play, and anecdotes of the filming, and Welles
taking part in a special screening for students in Boston, with interspersed
bits of the film throughout.
“One hell
of a picture.”
Filming The Trial
Grand minstrel
show, O.W. Interlocutor, film school students. Mr.
Bones wants to know this and that. Gesualdo, not
Albinoni. Perkins or Pacino, a “pushing”
bureaucrat, not well liked (the camera has spoken).
Different
background, dilemma, die like a Jew? “After the
Holocaust,” no.
Conflict with the
present Administration, society in conflict with K., not vice versa.
Circumstances of filming
and funding, larcenous Yugoslavians, impecunious venturesome Salkinds (grandson
Ilya of Superman fame).
“I’m
a magician,” at one point, “cinema mastery,” another. Being a dead loss to him, financially speaking.
The Spirit of Charles Lindbergh
The aviator to
his journal, one hour from Paris.