Orson Welles

Brad Pitt

Mickey Rourke

Of course it's a toss-up as to who does the worst Irish accent in that film - Rourke or Bob Hoskins?

B.Pitt's accent in Snatch is supposed to rilly good. Since I intend nevah to see this film can anyone confirm or deny?

Mark S - yup, it's pretty good, shame about the film in general, which howls.

kind of reminds me of the difference between Indiana Jones I and II

'the magnificent ambersons' has lots of good in despite whatever.

'the lady from shaghai' is great. all around.

'the third man', yeah, is brilliant. mainly because of welles. erm. and anton karas. & shit.

'touch of evil' is too. how about charlton as a mexican? his accent?

Orson Welles' late-in-life follies inspired one of the funniest bits shown on the most unfunny "Critic". (Something about frozen peas? It was funny.) His films are pretty good, too (even though _Touch of Evil_ seemed a bit ... disheveled. Or was that _Shanghai_? The one where he has a really fake beard? I saw one of those flicks in a film class after getting no sleep the night before.)

(_Shanghai_ had the funhouse mirror sequence, right?)

Welles is classic all the way. His Macbeth is underrated and bizarre as well.

Did anyone read Simon Callow's biography? Seemed pretty snide in tone.

Too bad Othello is kind of patchwork, that would have been another great one had he gotten backed fully & up front to film it. I can appreciate Kane historically and for its technical finesse, but I don't really relate to it.

Did he really put dye in his swimming pool to catch guests who peed while swimming?

Has anyone read the Callow bk on OW(and did they ever publish his vol. 2)? The Thomson, of course, is superb - I love the way that DT swings between being incredibly tough-minded and adoringly effusive.

It is only 'good' when compared with Heather Graham's. It sounds kind of Australian, which who knows is maybe how eastenders sounded back then, seeing as how that's where the Australian accents derives from (so I'm told and it certainly sounds that way when you think about it). Apparently, the real life Depp character was from Dorset or somewhere but the studios vetoed this bit of obsessive detail-following on the grounds that it would be TOO WEIRD (for Depp or audiences, I'm not sure).

(uh, x-post by about a year and a half)

Orson Welles, the year before his death, doing a reading from Charles Lindbergh's flight journals for The Other Side of the Wind DP Gary Graver's camera. He's in full hamhock mode, and the result is... astonishingly moving! https://t.co/VvDj603umF

— 𝖇𝖎𝖌 𝖇𝖆𝖑𝖑𝖔𝖔𝖓 𝖆𝖉𝖛𝖊𝖓𝖙𝖚𝖗𝖊 (@NickPinkerton) April 4, 2020

Great find!

Who is the “Bill” referred to?

no idea

Wiki:

The film was intended as a private video letter from Welles to his longtime friend and accountant Bill Cronshaw, who was ill.

think of what a draining job being his accountant must've been

Welles had a voice and he knew how to make the most of it. If you had another actor reproduce every vocal inflection in that performance, but an actor with a voice less resonant, with a different timbre, and it would sound unbearably artificial.

And an hour later, another take, Welles would've been phony too -- that's the rub. His voice was his blessing and curse.

That moment when your daughter is getting her 1st spa treatment from the baby nurse & you realize the teenage years are going to be REALLY expensive. (We’re still home! This is from two days ago. In spite of everything, there were also sweet, happy moments worth remembering. 💜) pic.twitter.com/E7WGkWkS2s

— Red Stethoscope (@RedStethoscope) April 4, 2020

this baby looks like welles imo

Better that than Winston Churchill.

lolz

How's that Hignam book? It's the only one of the major critical bios I haven't read.

Higham? i read chunks of it in HS, so i dont recall.

"The one generalization which is true about America is that everything is true about it. It's impossible to say anything that isn't true, good or bad. Our enemies are right. Our friends are right." -- Orson Welles

— Dennis Perrin (@DennisThePerrin) July 4, 2020

This is pretty great. The man seems at times lost amidst all these young cinephiles but he works his charm. Mostly French, no subs. https://www.cinematheque.fr/henri/film/125173-orson-welles-a-la-cinematheque-francaise-pierre-andre-boutang-guy-seligmann-1983/

that line from Picasso is great

Not 100% sure it's legit (or he got it from Leger) but that's Orson The Raconteur for ya.

revisiting Lady From Shanghai...the trial section is a riot

I looked at their filmographies, and this checks out:

Something I've noted recently, the case of two previously workmanlike cinematographers--Russell Metty and Charles Lawton, Jr.--who both went Godmode after working with Welles, on The Stranger (1946) and The Lady from Shanghai (1947), respectively. The man elevated people's game!

— 💜💜𝔹𝔼 𝕊𝔸ℕ𝔻 ℕ𝕆𝕋 𝕆𝕀𝕃💜💜 (@NickPinkerton) August 23, 2020

I don't remember The Stranger looking good but I probably watched a crappy public domain copy.

This thread never really got off the ground: TS Rudolph Maté vs. Russell Metty

I actually haven't seen The Stranger, that may be the case, but some gems in Russell Metty's subsequent work:

Ride the Pink Horse
Magnificent Obsession
All That Heaven Allows
Written on the Wind
A Time to Love and a Time to Die
Touch of Evil
Imitation of Life
Spartacus
The Misfits

xp Hey now!

No love for his previous work such as Bringing Up Baby?

Good lord how the f did I miss that one

You and Nick Pinkerton both.

Interesting story I just saw about the studio bringing in Metty to shoot some additional scenes for The Magnificent Ambersons while Welles was out of the country. Welles was annoyed but liked his work which is why he hired him for The Stranger.

Orson Welles talks to Andy Kaufman about his character Latka on Taxi. pic.twitter.com/laMMceFhp6

— Reconsidering Cinema (@coenesqued) September 27, 2018

I’ve watched this clip at least 20 times in the past week and the zinger welles lands on kaufman around the 20 second mark cracks me up every time. kaufman looked so wounded

That time Orson Welles almost made a noir thriller with Lucille Ball: https://crimereads.com/orson-welles-lucille-ball-and-the-greatest-thriller-that-never-was/

Some interesting tidbits in there about shared DNA between this script and Kane: As it happened, Mankiewicz didn’t hate everything Welles had dreamt up for Smiler. The script opened with a newsreel recounting the life of the Hughes-like heavy; Mankiewicz found the idea clever and kept it in Citizen Kane.

Examining the Magnificent Ambersons preview comment cards.

https://www.wellesnet.com/magnificent-ambersons-previews/

“We do not need trouble pictures, especially now… Make pictures to make us forget, not remember.”

O_o

The David Thomson bio from '95 included several of them, including that comment. Ugh.

Give the people what they want and you will most probably end up with crap.

That theory was most recently discussed on the Kinks-post-1970 thread.

RKO decided to preview the film in Pomona, a middle class community 30 miles east of Los Angeles at the Fox Theatre following a showing of the Dorothy Lamour musical The Fleets In.

i swear to god. what were these ppl thinking?

"Bury the bastard."

Has this been posted anywhere yet?
https://www.youtube.com/watch?v=eOmYEssdXg8

The Trial is getting Criterioned:

https://www.criterion.com/films/28115-the-trial

Finally! (Great, great movie.)

Indeed.

Eureka/Masters of Cinema coming out with a limited-edition 4K of Touch of Evil in September.
https://eurekavideo.co.uk/movie/touch-of-evil-limited-edition-box-set-4k-ultra-hd/

Oh and HERE'S a little tidbit from a friend yesterday on FB who would know:

Today I received the very good news from UCLA Film & TV archive that Paramount is scanning the remaining nitrate footage of It's All True so that it can be preserved! More updates to follow.

Saw this yesterday, Orson doing Shylock on the Dean Martin Show

https://www.youtube.com/watch?v=59sNCF80C70

I've been watching Chimes at Midnight again in memory of Keith Baxter, and during Criterion's commentary, James Naremore mentions that one reason Welles probably left for Europe was his politics, something Hollywood would not have liked post-WWII and Naremore says he believes Welles would've been in a lot of trouble had he continued making films in Hollywood like he did at RKO during the height of the Red Scare. Never thought of it before, but he's probably right - brings to mind what people said about the Replacements in the wake of the new Tim reissue, in that things probably turned out for the best. (i.e. had Tim become a massive hit, it's doubtful the band members would've handled it well).

(He does add that J. Edgar Hoover did indeed have a file on Welles and kept an eye on him as well.)

On Talking Pictures just now, a 1972 version of "Treasure Island" starring Welles as Long John Silver - based on an unfinished screenplay by Welles, though he asked for his name to be taken from the credits. Story of the film here:

https://en.wikipedia.org/wiki/Treasure_Island_(1972_film)

Didn't know this even existed tbh.

... his voice was dubbed... by Robert Rietty!

why the fuck was welles so into jesus franco anyway

seems like whenever the spanish were involved first thing welles said was "oh well we need to get jesus franco in on this, then, nobody knows more about spain than him"

i'm just saying he might have been better off with rich little. is all.

I've seen Catch-22 once years ago--will watch it again soon. I'm halfway through Mark Harris's Mike Nichols biography, and there's a page about Welles' arrival on the set of Catch-22. He'd unsuccessfully tried to secure the rights for himself years earlier, so he showed up with a giant chip on his shoulder--that, and resentment of Nichols' runaway success with his first two films--and proceeded to be a complete nightmare for as long as he was around.

In his essay to accompany the classic judo manga Igaguri, Ryan Holmberg writes about the then common practice of canning: editors basically abducting manga artists to finish their work in locked hotel rooms when deadlines loomed. He mentions one occasion where the manga's creator, alongside two colleagues, one of which was Osamu Tezuka himself, being crammed into such a situation and it backfiring as, instead of finishing their work, the trio decided to "take turns mimicking Orson Welles smiling and laughing in the dark in The Third Man", while flipping the light switch on and off for dramatic effect.