Archive for November, 2008

Harvard Film Archive presents ORSON WELLES THE UNKNOWN – November 29 to December 1

Wednesday, November 26th, 2008

The upcoming Harvard Film archive's mini retrospective of Orson Welles films has generated several interesting articles in the local Boston-Cambridge press;  below are links for them.

Unfortunately, Ed Symkus, writing in The Walpole Times mars his story with the following absurd paragraph:

Although Welles is one of the most recognized and admired names in cinema history, the truth is that he was a failed filmmaker, a director who, after a tremendous success with his first film, “Citizen Kane,” quickly spiraled downward in the eyes of studio heads who didn’t trust him with their money. Though he made a few other brilliant films, he mostly had to eke by on small projects with tiny budgets, eventually paying the rent by serving as a huckster for wine on TV.

Now, if the real truth is to be told, Welles was anything BUT a failed filmmaker! Hopefully Mr. Symkus will be able to attend Stefan Droessler's programs on The Unknown Orson Welles, where he might find himself pleasantly enlightened.


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ORSON WELLES - THE UNKNOWN: November 29 to Dec 1

http://hcl.harvard.edu/hfa/films/2008novdec/welles.html

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BOSTON PHOENIX

http://thephoenix.com/Boston/Movies/72570-Alls-well-that-is-Welles/

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THE WEEKLY DIG

http://www.weeklydig.com/arts-entertainment/movies/200811/orson-welles

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THE WALPOLE TIMES

http://www.wickedlocal.com/walpole/fun/x1772961966/Alls-Welles

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Orson Welles’s CITIZEN KANE tops Cahiers du Cinema’s list of 100 greatest films

Saturday, November 22nd, 2008

Cahiers du Cinema has published its list of the 100 greatest films, and we finally get a ranking that actually makes some kind of sense!

Obviously, all of these lists must be taken with a grain of salt, beginning with the now obligatory number one spot always going to Citizen Kane, which many (including myself) would argue is NOT Orson Welles best film.

However, given the totally absurd choices on display in the lists offered up by such dubious chroniclers of film taste as The American Film Institute, Entertainment Weekly and Empire Magazine, the Cahiers list offers a refreshing counter-balance from those organizations blatantly commercial choices. It's actually hard to blame them, since their audiences have never heard of directors like Robert Bresson or Kenji Mizoguchi, much less seen any of their films, but given that fact, their lists should be called "The 100 best commercial films," not the "best of all time."

Cahiers list is also a bit of a surprise in that so few living directors make the grade, but that is quite as it should be. As a result, there are no recent mega box-office directors represented, such as Spielberg, Lucas or Cameron. The dozen or so directors still around who make the list include these men:

Jean-Luc Godard (Contempt)
Alain Resnais (Hiroshima Mon Amour)
Michael Cimino (Deer Hunter)
Francis Ford Coppola (The Godfather)
Chris Marker (La Jetée)
Pedro Almodovar (Talk to Her)
Blake Edwards (The Party)
Jacques Demy (Lola)
Woody Allen (Manhattan)
David Lynch (Mulholland Drive)
Eric Rohmer (My Night at Mauds)

Strangest omission appears to be the lack of Welles's Chimes of Midnight on the list, but Touch of Evil does make it into the top 50.

The complete ranking along with trailers for many of the films can be seen at the Cahiers website here:

http://www.cahiersducinema.com/article1337.html

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An interview with Orson Welles’s cinematographer Gary Graver by Harvey Chartrand – Excerpts from PENNY BLOOD magazine #11

Friday, November 21st, 2008

By exclusive arrangement with Nick Louras, the editor of PENNY BLOOD magazine, Wellesnet is able to provide these excerpts from Harvey Chartrand's extensive and fascinating interview with Orson Welles late, great cinematographer Gary Graver.

The full text of the article can be read in PENNY BLOOD magazine #11 featuring a cover story on the films of British author Dennis Wheatley. It can be ordered online here: http://www.pennyblood.com/

And by a strange coincidence, Dennis Wheatley's movie adaptation of Hammer Films version of THE DEVIL RIDES OUT, features two superb performances from actors Orson Welles knew quite well: Christopher Lee (from the film version of MOBY DICK - REHEARSED), and Charles Gray (from THE MERCHANT OF VENICE and ORSON's BAG.)

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CINEMATOGRAPHER GARY GRAVER:

THE MAN WHO SHOT EVERYTHING, FROM ART HOUSE TO GRIND HOUSE TO BLOCKBUSTER - AND BEYOND

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Interviewed by Harvey Chartrand

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In 2004, outré film director Curtis Harrington, whom I had interviewed several times as he attempted to revive his long-dormant career, suggested that I speak to Gary Graver, the veteran cinematographer he had lined up for his next project – what would have been the first film version of Edgar Allan Poe’s short story The Man of the Crowd. Although Graver accumulated several hundred credits over a 45-year career, he is best known as Orson Welles’ chief cameraman during the Great One’s terrible final years – a dreadful shambles of wine and whisky commercials, walk-ons in bad pictures, movie trailer voiceovers, talk show blather, magic tricks, unsold scripts, unfinished directorial projects, lost footage, escalating obesity and declining health. Stepping out from under Welles’ hulking shadow, Graver enjoyed a varied and prolific career, and – to make ends meet – had a sideline as a director of classy porno movies, using the pseudonym “Robert McCallum” for these triple-X efforts. (The best of the “McCallums” – 3 A.M., made in 1975 – features an infamous lesbian shower scene edited by Welles, supposedly to repay a debt to Graver.)

So I contacted Graver and he agreed to an interview. Although lengthy intervals separated our telephone conversations (delays I attributed to Graver’s non-stop schedule and protean output), he couriered me samples of his short subjects, feature-length films, documentaries and works-in-progress, which I viewed enthusiastically. I later discovered that Graver was also battling throat cancer at this time.

During our freewheeling talks, Graver discussed several low-budgeters he directed in the hopes of breaking into mainstream films (these B pictures included The Boys, Moon in Scorpio, Trick or Treats, Evil Spirits, Crossing the Line and The Attic); rarities that he worked on with Welles; collaborations with Spanish horror king Paul Naschy and the prolific American B-movie director Fred Olen Ray; and such cinematic oddities as Free Grass, Dracula Vs. Frankenstein, Doctor Dracula and The Mighty Gorga.

Screenwriter William Martell reports on his Sex in a Submarine blog that Graver did second unit work on John Cassavetes' A Woman Under the Influence (1974) and Steven Spielberg's Raiders of the Lost Ark (1981) and The Color Purple (1985). Graver shot Grand Theft Auto for Ron Howard in 1977 and was cinematographer on over 200 movies, directing more than 100 himself. He did second unit or additional photog on “zillions of movies,” Martell writes.

In 2000, Ray Manzarek, The Doors’ keyboard man and a graduate of UCLA’s film school, asked Graver to serve as cinematographer on his underrated thriller Love Her Madly, based on a story outline by the band’s debauched lead singer Jim Morrison.

“I had a sense while I was making the picture that I had a winner,” Manzarek said. “I had great actors, a great cameraman – Gary Graver, who worked with Orson Welles. Gary had so many ideas on how to set the mood. I told him, now we’re into the darkness, and he would light the darkness. Gary was just a great lighting technician. He contributed to the beauty of every single shot in the picture. His wife Jillian Kesner was the production supervisor, running around with clipboards and paper. She did a fabulous job too. They’re a great couple.”

Since the Ray Manzarek interview was recorded, Gary Graver died of cancer on November 16, 2006, at his home in Rancho Mirage, California. He was 68. Eighty-year-old Curtis Harrington died on May 6, 2007, at his home in the Hollywood Hills, of complications related to a stroke he suffered in 2005. And Graver’s wife Jillian Kesner (a former actress and martial artist) died of the combined effects of leukemia and a staph infection on December 5, 2007, at a hospital in Irvine, California. She was 58.

These macabre circumstances may account for the fragmentary nature of this fascinatingly disjointed interview with the late Gary Graver.

-Harvey Chartrand

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HARVEY CHARTRAND: Discuss your collaboration with director Curtis Harrington. You lensed his final horror masterpiece Usher (2002).

GARY GRAVER: I’ve known Curtis since I was a kid. I met him through a friend at a film festival in San Diego. So I’ve known Curtis through the years, but our careers went in different directions. We see each other socially all the time. I run into him at film festivals in Europe. Curtis hadn’t done a movie in about 10 years. He called me up and said he wanted to make Usher, a short film. He wanted to go back to his roots in experimental film. Curtis asked if I would help him and I said “sure.” Next to Orson, Curtis is the most intellectual director I’ve ever worked with. I was happy to help out.

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Marc Forster, the newest James Bond director, blames Orson Welles for his own grievous faults in “Quantum of Solace”

Friday, November 14th, 2008

Art should never try to be popular; the public should try to make itself artistic.

--Oscar Wilde
The Soul of Man under Socialism

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Director Marc Forster has claimed in nearly every interview he's given while promoting his new James Bond movie, Quantum of Solace, that since he had never made an action movie before this, he didn't really want to accept the assignment. So why did such a supposedly "non-commercial" director finally agree to take on such a "commercial" kind of movie?

Well, it turns out Forster "was inspired when he remembered Orson Welles's famous statement that his biggest regret was never having made a commercial movie."

The only problem here, is that as true Orson Welles aficionados know, Mr. Welles never made any such statement. In fact, Welles experience after attempting his first commercial movie, The Stranger, for producer Sam Spiegel was so artistically unpleasant for him, he vowed never again to direct a "commercial" movie. So I find Mr. Forster's attempts at bringing the name of Orson Welles up as a defense for making such a blatant "commercial" movie, not only to be factually wrong, but rather offensive.

Most of us know that Welles would indeed act in movies of the lowest calibre to make the money he needed to finance his own projects. But never in his darkest hour would Welles have ever thought about directing a James Bond movie! Of course, Welles did act in Casino Royale, but quite obviously he would never have considered directing any of the Bond entries, where everything is essentially decided by the studio or the producers, or the 2nd Unit action director (Dan Bradley in Quantum of Solace).

These thoughts came to mind after having viewed Forster's new Bond movie, and I'd have to say that Mr. Forster is probably the kind of director Welles was talking about when he said so many directors can go through their careers without being detected as frauds. For me, this kind of director is a real fake, because he pretends to be "an art house" director but the moment he gets an offer to direct something commercial (along with the multi-million dollar fee it brings to him and his agent), he throws all artistic worth to The Other Side of the Wind.

As Welles would no doubt say, here is a man who may go on making movies for years without being discovered for the "phoney" he may be.

The truly ironic thing is that this latest Bond movie gives Forster a budget of at least $200 million and probably a fee of at least $5 million. For that same $5 million, Orson Welles final masterpiece, The Other Side of the Wind could easily be completed and shown, albeit to a much smaller audience than Quantum of Solace will be reaching.

Which invariably leads to this question: How can Orson Welles be taken to task for acting in a James Bond movie, (or wine commercials, for that matter), while a supposedly "classy" director like Marc Forster can be praised for taking on one of the worse James Bond movies ever made? Actually, the action sequences aren't at all bad, but then of course, they were directed by Dan Bradley, not Mr. Forster, who as he notes so ironically, isn't an action director.

Glenn Anders recalls the original 1938 broadcast of Orson Welles “The War of the Worlds”

Saturday, November 1st, 2008

Glenn Anders, a long time member of Wellesnet is also quite possibly the only member who actually heard that famed Martian broadcast all those years ago. I asked Glenn to write something about his memories of that fateful night in 1938, when he was just a seven-year old lad, living a peaceful, uneventful life in the mid-west. Here is his report:

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NEWS ANNOUNCER: Enemy now in sight above the Palisades. Five -- five great machines. First one is crossing river. I can see it from here, wading the Hudson like a man wading through a brook... A bulletin's handed me... Martian cylinders are falling all over the country. One outside Buffalo, one in Chicago, St. Louis... seem to be timed and spaced... Now the first machine reaches the shore. He stands watching, looking over the city. His steel, cowlish head is even with the skyscrapers. He waits for the others. They rise like a line of new towers on the city's west side... Now they're lifting their metal hands. This is the end now. Smoke comes out... black smoke, drifting over the city. People in the streets see it now. They're running towards the East River... thousands of them, dropping in like rats. Now the smoke's spreading faster. It's reached Times Square. People trying to run away from it, but it's no use. They're falling like flies. Now the smoke's crossing Sixth Avenue... Fifth Avenue... one hundred yards away... it's fifty feet...

ANNOUNCER'S BODY FALLS TO THE GROUND


From The War of the Worlds, October 30, 1938.

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It would have been a Sunday evening, after dinner, in Northeastern Ohio, far from Grovers Mills, New Jersey. The air was growing chilly, and the last leaves of the Maple trees on Swan Street were fluttering on their branches. The Yankees had beaten the Cubs four straight in the World Series earlier in the month, and in mid-November, Kate Smith would be introducing "God Bless America" to the public, for Armistice Day. Overseas, the Nazis had carried out Krystalnacht against their Jewish population, and Winston Churchill was speaking of the possible necessity of war with a ruthless nation a few hours away by air.

For most of the citizens of Geneva, Ohio, such events were distant. Not so in my home, where my father, "Scotty" Fraser, a five-year veteran Cameron Highlander machine gunner of the First World War, when not climbing sixty foot poles for the Cleveland Electric Illuminating Company, listened to the ballgame, the football game, the opera, Charlie McCarthy, Fred Allen, or most of all, the news from the BBC, on our brand new Philco console radio, standing in its place of honor near his chair. My father, a gentle man, sat by the hearth, reading his beloved True Detective Stories, a cigarette burning in his giant blue ashtray, a glass of California Muscatel and soda at hand.

The last tomato had been harvested, the lily bulbs taken from the ground, and listening to Churchill (not yet Prime Minister) on the shortwave transmission of the BBC, my father began to have arguments with my mother about rejoining his regiment.

But that would be far from Geneva, and only vaguely disturbing to my life on that Sunday.

Tomorrow night was Halloween, and the kids on the block were looking forward to "trick or treating." We were still in the final ebb of the Great Depression, and children did not have money for fancy costumes and elaborate makeup. One flour sack with a few holes for over the head, and another to hold the boodle, mostly homemade cookies and candies, had to make do.

I would have been lying half on our precious Persian carpet, half on the hardwood, near my father's chair, "reading" my latest Action Comic Book, featuring the new hero Superman, glancing occasionally at a clipper ship making way under full sail toward me, emblazoned on a card table artfully arranged to easily mask the unused opening of our red brick fire place. I would have been drawing part of the time, for I did not really read for years after a fall down the cellar steps when I was five.

There would have been no doubt that we would eschew Charlie McCarthy and Edgar Bergen, the radio craze at that hour. The sustaining CBS program, the Mercury Theater on the Air, had promised early in mid-summer a dramatization of Treasure Island, a favorite novel of my father's youth. And though that promise was postponed, and others disappeared entirely, we had become habituated to Tchaikovsky's Piano Concerto #1 in B-flat minor, which came to symbolize the approaching presence, accentuated by our radios's huge base speaker, of the mysterious but comforting Orson Welles.

As one who actually heard "The War of the Worlds" on that late Fall day of 1938, so long ago, in Ohio, I can tell you that there was nothing on the radio in the late thirties which compared with the Mercury Theater on the Air. The only other program of its kind, on a regular basis, was The Columbia Radio Workshop broadcasts. And Welles was involved with those programs, too, as were the directors who may have been an influence on him, Irving Reiz and particularly, William N. Robson.

And so, a seven year-old boy was lying on the floor, feeling the vibrations of our mighty Philco pulsing through him, its somehow Egyptian green eye dilating slowly down upon him, observing all of us, as we heard:

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