Archive for January, 2007

The Citizen Kane Trailer

Monday, January 29th, 2007

There is a fascinating article on the Citizen Kane trailer in the Canadian Journal of Film Studies, Volume 15, No. 2.

The article runs from pages 96 to 113, and is the first article to my knowledge to�focus on�a Welles trailer. The author remarks that only recently are trailers becoming understood as works of art themselves. I can recall seeing several Welles trailers over the years: Kane, Ambersons, Shanghai, Touch of Evil, a crazy Desilu trailer for the tv presentation of the Trial, and of course the infamous F For Fake extravaganza: perhaps the longest trailer in film history.

It's certainly an untilled area; info about the article (which is by Paul Salmon) can be found here:

www.filmstudies.ca/CJFS.htm

Here is the abstract for the article:

�The People will think... what I tell them to think�: Orson Welles and the Trailer for Citizen Kane

�by Paul Salmon

�The trailer for Citizen Kane is now impossible to appreciate outside of a context shaped by decades of Welles scholarship and by the entrenched canonical status of Citizen Kane itself. Yet, it warrants sustained attention in its own right. The highly manipulative nature of its rhetorical strategies suggest the importance that Welles placed on courting a wide, popular audience on the eve of unveiling the most technically and formally advanced film in Hollywood history. A close analysis of the trailer suggests that Welles was deeply ambivalent about how far to risk alienating a mass audience, and equally ambivalent about the role of collaboration in the artistic enterprise.

And here's the Kane trailer:

http://www.youtube.com/watch?v=zyv19bg0scg

Searching For Orson

Sunday, January 28th, 2007

Here are two reviews on the new Croatian film Searching For Orson.

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SEARCHING FOR ORSON

(Documentary - Croatia - U.S )

By Robert Koehler Variety

A D&J Prods /Filmind/Studio Guberovic presentation. Produced by Jakov Sedlar. Executive producers, Richard Weiner, Stephen Ollendorff . Co-producers, Harold Snyder, Boris Miksic, Ron Assouline, Natali Schlesinger. Directed, written by Dominik Sedlar, Jakov Sedlar. Camera (color, DV), Gary Graver, Igor Sunara, Zelko Guberovic; editor, Zdravko Borko CQ; supervising sound editor, Ivika Drnic CQ. Reviewed at AFI Los Angeles Film Festival, Nov. 2, 2006. Running time: 79 MIN.


With: Orson Welles, Oja Kodar, Peter Bogdanovich, Steven Spielberg, Jonathan Rosenbaum, Frank Marshall, Paul Mazursky, Henry Jaglom, Gary Graver, James Earl Jones, Merv Griffin.

Narrator: Peter Bogdanovich.

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Notes on Orson Welles’ THE DEEP

Saturday, January 27th, 2007


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By LAWRENCE FRENCH
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THE DEEP (DEAD RECKONING) Written and Directed by Orson Welles. Based in the novel Dead Calm by Charles Williams. Cinematography by Willy Kurant and Ivica Rajkolvic (in Color). Music by Francois Rabath.

Cast: Lawrence Harvey (Hughie Warriner); Jeanne Moreau (Ruth Warriner); Orson Welles (Russ Brewer); Oja Kodar (Rae Ingram); Michael Bryant (John Ingram).

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My hope is that it won't turn out to be an art house movie. I hope its the kind of movie I enjoy seeing myself. I felt it was high time to show that we could make some money. It's a good story called Dead Calm. It all takes place on the sea and in the boats. Were never on land from beginning to end. We started very early, a year ago. The weather closed in on us, and even worse, Michael Bryant had a commitment in the London theatre, so we had to stop.

Orson Welles, 1970


Working with Orson is an experience, all right. It is invention all the time. In the middle of filming, he might decide he needs to write a new scene. He sets the camera, he gives you the words. He tells you to turn your head or to walk or to sit down, and though it may sound unnatural, a most difficult situation for an actor, there is an incredible magic. You're spellbound, and something unpredictable comes alive.

Jeanne Moreau

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This tense thriller was filmed off the Dalmatian coast of Yugoslavia on two separate yachts, between 1967 and 1969 and was very close to being completed. However, Welles reportedly needed to shoot a spectacular explosion on a becalmed yacht to finish the film, and as time went by, he appears to have lost interest in the film, as he never post-synced much of Jeanne Moreau's dialogue. At a press conference at the 2000 Berlin Festival, Moreau commented on The Deep, saying "it was a fantastic experience working with Welles. My relationship with Orson was, as usual, incredible. The only disastrous thing was that later on, the film disappeared." According to Moreau, Welles would also sometimes disappear when he was having problems financing the movie. "He was very fragile and could be self-destructive," said Moreau. "One time there was no news of where Orson was, and I was staying on the fifth floor of our hotel. Above me, was a huge suite where Orson stayed. While I was sitting out on the terrace watching the view, I could see big lumps of cigar ash falling down, so I knew he was up there smoking away."
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JOURNEY INTO FEAR – Reports on it’s production in The New York Times

Thursday, January 25th, 2007

Here are several articles detailing the production of Journey Into Fear from the pages of The New York Times.� Especially interesting is the story by Thomas Brady, on a "Genius under Stress." Ironically, it appears Welles was actually quite worried about spending so much of RKO's money! ����

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SCREEN NEWS HERE AND IN HOLLYWOOD

�Magnificent Ambersons� and �Journey Into Fear� to be Made by Orson Wells for RKO �

By Douglas W. Churchill � July 23, 1941 �

After several weeks of conferences RKO and Orson Welles today announced the program for the actor-writer-producer-director for the new season.

All conflict between Welles and the studio has been ironed out by Joseph L Breen, new head of production, and Welles will begin preparation immediately of the first screen story, Booth Tarkington�s novel of American transition, �The Magnificent Ambersons," which will go before the cameras in September. It will be followed by "Journey Into Fear," an Eric Ambler novel which Ben Hecht has adapted to the screen.

Michele Morgan, RKO's French import, had been announced for the latter picture, but the Welles office said that he will discard the RKO plans for the production and start afresh. Welles third venture will be "It's All True," a photoplay about which no information was divulged. Mystery also surrounded the nature of Welles connection with each project; which he will appear in and which he will direct was not disclosed.

His office announced, however, that negotiations had been resumed with the Mexican government for permission for the producer-writer to make a picture there with Dolores Del Rio. Mexico previously had banned the film.

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JOURNEY INTO FEAR – Stefan Drossler presents a new version in San Francisco

Monday, January 22nd, 2007

This past week, the BERLIN AND BEYOND Festival welcomed Stefan Drossler, the director of the Munich Film Museum to San Francisco for the American premiere of the rare German silent film, NATHAN THE WISE (with Werner Krauss and Max Shreck).� And while Stefan was here, he was able to offer a screening of his work in progress on�JOURNEY INTO FEAR to a select group of Wellesnet's San Francisco members. Among�them was a young Persian Welles fan (and relative of Medhi Bouscheri), Medhi Dara Alavi. I felt this was most appropriate, in light of the cut dialogue in the new version that refers to the past glories of the Persian Empire in Iran and ties JOURNEY INTO FEAR into Welles last film, THE OTHER SIDE OF THE WIND.

But the real eye opener for me was that much of the cut dialogue (mostly due to censorship concerns) refers to God, religion, socialism and sex. In fact, it is�quite�strange how overlooked this film has been in the Welles canon,�simply because the 69 minute version was so badly mutilated by RKO. Naturally, no one, including myself, really thought of it as a true Welles film, or that it was any great loss.� Possibly because it was clearly directed by Norman Foster for the most part. But this new version, along with the RKO-Welles memos, indicates to me that Welles really had his hands all over the project. One of the biggest changes confirms this. The�opening title now reads: Orson Welles' Mercury production of JOUNEY INTO FEAR.

With that title�restored,�so is Welles' ownership of the film. Obviously, the film was meant�to be a much more�commercial venture than KANE or AMBERSONS, but it also contains some incredibly interesting�comments about life, death, war and many other issues that seem to resonate in today's world.�But perhaps what struck me most was that this film might actually be the truest record on film we have of all the Mercury players that Welles had worked with in New York. Many of the�Mercury actors and assistants only had a film part in Welles�third and final film at�RKO,�including Eustace Wyatt, Frank Readick, Herbert Drake, Robert Meltzer, Shifra Haran and Jack Moss.

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Pat Hobby and Orson Welles by F. Scott Fitzgerald

Sunday, January 14th, 2007

A full year before the premiere of CITIZEN KANE, Orson Welles had already made a big impact in Hollywood, as can be attested by this Pat Hobby story by F. Scott Fitzgerald, published in the May, 1940 issue of Esquire, the year Fitzgerald died.

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PAT HOBBY AND ORSON WELLES

By F. Scott Fitzgerald

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'Who's this Welles?' Pat asked of Louie, the studio bookie. 'Every time I pick up a paper they got about this Welles.'

'You know, he's that beard,' explained Louie.

'Sure, I know he's that beard, you couldn't miss that. But what credits's he got? What's he done to draw one hundred and fifty grand a picture?'

What indeed? Had he, like Pat, been in Hollywood over twenty years? Did he have credits that would knock your eye out, extending up to--well, up to five years ago when Pat's credits had begun to be few and far between?

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Memorial Tribute to GARY GRAVER in Hollywood Sunday January 21

Thursday, January 11th, 2007

Gary Graver's memorial tribute will take place at the Egyptian Theater on

Hollyood Blvd.

Sunday January 21 at 2:00 pm

It is FREE and open to all.

Gary Graver Memorial Tribute

Independent filmmaker and cinematographer, Gary Graver toiled away on all different kinds of movies during his long and prodigious career - exploitation, underground classics, mainstream. He was also one of the last cinematographers to actively collaborate with pantheon director, Orson Welles. Please join us for this memorial tribute to Gary (who passed away in November), a dear friend of the Cinematheque, and a man who loved Hollywood and loved the movies. There will be testimonials from friends, family and colleagues as well as clips screened from some of Gary's own favorite work, including some surprise rarities. FREE ADMISSION

The American Cinematheque atthe Egyptian Theatre

Sunday, January 21 2:00 PM

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Orson never said "wrap" His word was "freedom"

--Gary

Revamping, Updating, and The Long Term Future of Wellesnet

Wednesday, January 3rd, 2007

Your humble, often absent webmaster here, hoping you had a happy holiday season and new year and all that. Being a new year, I thought I would throw out a few things in regards to the state of the site and its status in the coming year.


If youve read any number of previous posts by me, youll recall that I have long intended to completely re-vamp Wellesnet over the last couple years, as the site has long needed it. Usually, nothing ever happened, largely due to my own lack of initiative in getting it done. Time is valuable, and frankly, site design takes a lot of it, most of it tedious and thankless. Plus, my skills in that arena are sorely lacking. But, having installed Wordpress as the engine of the News page/blog, it occurred to me that re-designing the site was unnecessary for the most part. What I needed to do was to delete most of it.

What? I can hear you ask? Yes, having given it some thought, to my mind there is really no need to try and construct an in depth encyclopedic resource about Welles. Some pages on the site will be re-formatted within the news blog format for easy accessibility, and the main pages for Film, Theater, and Radio have been/will be simplified, with appropriate links where necessary. For the time being, most of the various images that went with each page will be mothballed; use the Wayback Machine if theres something you really need to see. If I can come up with an easy, time-effective solution for putting them back, Ill do so. But dont hold your breath. Looking at the site stats, its clear that most of these pages dont get looked at very often anyway, if at all. Plus, some of the pages are just embarrassing in their layout and/or outdated in their content, with material that could more easily be condensed on one central page.

One thing Ive been proud of with Wellesnet is the various exclusives weve had, and those all remain, now found within their own section, which will be accessible from the menu bar, if it isnt already. The Resources pages are also left relatively unscathed, since that is a useful function the site can serve. I have long needed to update these pages, and that is in progress. That link is moved to the right column as well.

With all that said, whats next for the site? For several months, Ive been arguing back and forth with myself over whether to keep the site running. Thanks to a generous contributor, the site will continue through the end of 2007, when my domain registration ends; before that point, it will be necessary to determine where Wellesnet goes from there, be it continue onward under me, under new stewardship, or to simply call it a day and close up shop. I will say this now, however: when and if I or someone else decides to continue it in 2008 and beyond, it will be up to users of the site to support its ongoing survival. The only means of outside income the site receives, Amazon referral money (miniscule at best), pays for maybe 10% of the total hosting fees, so the remainder will need to be found from other areas, which basically means the site users. The site doesnt receive enough traffic to make it worth plastering ads everywhere, and I hate the way tons of ads cheapen the look of a site. As the year goes on, some means will be determined as how best to continue. Its a little ways off, but never let it be said I didnt warn you. The costs of hosting a site with fairly low traffic like Wellesnet are relatively inexpensive these days, so I can tell you it shouldnt be onerous.

Larry French and Tony Rowat will continue to bring you the news and other excellent features, and just about everything else of any interest gets posted on the message board even before it makes it here. And finally, thanks to everyone who has contributed material to the site, be it information, images, whatever. This site wouldnt be what it is without your help and the small coterie of diehards who frequent the message board. We are a small community, but a community nonetheless. Thanks again. Jeff W.