Ambersons Again - Missing Footage

[Archimago]

I know I risk committing equine necrosadism, but can someone run down for me the last locations of Ambersons' missing footage:

1. Are there studio manifests that might say how many copies of the original cut existed.

2. Where was the Preview Copy shown? In what theater? Does anyone know what used to happen to preview copies after they were shown?

3. Welles had a Moviola copy sent to Brazil. Did that copy stay in Brazil or is that the same copy that was burned in Welles' house? Did Welles have any other copies in his possession at any time?

4. What copy did Robert Wise use when he was forced to re-edit and shoot new scenes?

5. Did RKO recycle or reuse film or footage in any way?

6. Incidentally, has any one ever noticed all the Ambersons sets in other RKO movies of that time? (I know I've seen the staircase and some parts of the mansion elsewhere.)

My Perspective on this: I know the silver nitrate will have long since decayed, but I just want to know if this tragedy is traceable to its definite conclusion.[B]

[ToddBaesen]

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Most of the answers to your questons can be found in the current issue of VANITY FAIR, which has an article on the cutting of AMBERSONS.

In the meantime, here's some of the memo's sent to Welles in Brazil relating to the cutting of AMBERSONS.

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It all started out like a sunny Brazilian afternoon, as Welles received this optimistic cable from RKO President George Schaefer at the Cobocabana Hotel in Rio:

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GEORGE SCHAEFER TO ORSON WELLES:
February 9, 1941

PLEASE FORGIVE ME FOR NOT HAVING WIRED YOU IMMEDIATELY ON MY RETURN FROM THE COAST TO TELL YOU OF MY HAPPINESS AS A RESULT OF WHAT I HAVE SEEN OF YOUR CURRENT PICTURE. EVEN THOUGH I HAVE SEEN ONLY A PART OF IT, THERE IS EVERY INDICATION THAT IT IS CHOCK FULL OF HEART THROBS, HEARTACHES AND HUMAN INTEREST. FROM A TECHNICAL STANDPOINT IT IS STARTLING AND I SHOULD NOT FORGET TO MENTION ESPECIALLY THAT AGNES MOOREHEAD DOES SOME OF THE FINEST PIECES OF WORK I HAVE EVER SEEN ON THE SCREEN. ALTHOUGH I SAW ONLY PART OF THE PICTURE HER WORK IN PARTICULAR MADE A TREMENDOUS IMPRESSION ON ME. AGAIN I AM VERY HAPPY AND PROUD OF OUR ASSOCIATION.

CONGRATULATIONS AND BEST WISHES,
GEORGE SCHAEFER

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[ToddBaesen]

Welles received the first inkling that something might be terribly amiss with THE MAGNIFICENT AMBERSONS, when he got this telegram from Robert Wise. Wise was originally supposed to join Welles in Rio, so Welles could complete the editing on AMBERSONS personally, but due to America's entry into WWII, that plan became unfeasible. On March 11th Wise send a 132 minute version of AMBERSONS to Welles in Rio, which was also the basis for RKO's cutting continuity script, dated March 12th. After seeing the 132 minute rough cut, George Schaefer's initial enthusiasm had faded considerably, and as Wise reports, he ordered several cuts before the first preview in Pomona.

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ROBERT WISE TO ORSON WELLES (excerpt):
March 16, 1942

DEAR ORSON:

REPORTING DEVELOPMENTS AMBERSONS. MR. SCHAEFER UNEXPECTEDLY REQUESTED RUNNING AMBERSONS TODAY FOR HIMSELF AND (Charles) KOERNER AND 4 OTHER MEN UNKNOWN TO ME, PROBABLY EASTERN EXECUTIVES. FOLLOWING SHOWING SCHAEFER INQUIRED REGARDING SHORTENING LENGTH. HE HAS ORDERED ME TO PREPARE PICTURE FOR SNEAK PREVIEW TUESDAY NITE WITH FOLLOWING CUTS: BOTH PORCH SCENES AND FACTORY. HAVE ADVISED JACK MOSS (Welles business manager).

BOB WISE

[ToddBaesen]

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On March 17th AMBERSONS was previewed in Pomona, the exact running time being unknown, but was probably around 110 minutes, since both Schaefer and Welles had apparently ordered scenes cut. The audience reaction was deemed poor, although of the 125 preview cards returned, 53 were actually positive. However, the remaining 72 cards were, highly critical, indicating to all present that the picture had problems and would be an extremely tough sell. On March 18th Welles cabled Schaefer "eager to hear reaction to AMBERSONS preview," and got his first indication of how badly the preview had gone from Jack Moss.

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JACK MOSS TO ORSON WELLES (excerpt):
March 19, 1942

AMBERSONS PREVIEW UNSATISFACTORY. GENERAL COMMENT TOO LONG BUT DESPITE IMPATIENCE THEY WERE OVER AND OVER AGAIN HELD BY DRAMA. PREVIEWING AGAIN TONIGHT IN PASADENA WITH DIFFERENT TYPE OF AUDIENCE. WE WILL PHONE YOU TOMORROW WITH FULL REPORT ON BOTH PREVIEWS.

JACK


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[ToddBaesen]

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The day after the disastrous Pomona preview, Schaefer began making plans to cut the film down - with Welles input - but just to make sure of all his options, Schaefer asked RKO's attorney, Ross Hastings, about the legality of making cuts with regards to Welles current contract. Hastings reply indicated that any proposed cutting of the film would be entirely legal.

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ROSS HASTINGS TO GEORGE SCHAEFER:
March 19, 1942

You asked me concerning our rights in connection with the cutting of THE MAGNIFICENT AMBERSONS.
Orson Welles has the right to make the first rough cut of the picture or to cut the picture in the form of the first sneak preview if it is to be previewed. Thereafter he agrees to cut the picture as directed by us.
I am not really informed as to the facts, but I know that the picture has been previewed, and assume that this preview was in the form in which he cut the picture, or at least in the form as to which he controlled the cutting. In view of the fact that from this point on he is obligated to cut as directed by us, and in view of the further fact that he is now not available for cutting, it is my opinion that we have the right to cut the picture.

RH


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[ToddBaesen]

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For the second preview held March 19th in Pasadena, AMBERSONS was re-edited to a running time of approximately 117 minutes. Although the film was much better received in Pasadena, it seems as if the memory of the Pomona preview was irreversible, and nothing would allay Schaefer's fears, as he indicates to Welles in this grim letter.

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GEORGE SCHAEFER TO ORSON WELLES:
March 21, 1942 PERSONAL-CONFIDENTIAL

Dear Orson:

I did not want to cable you with respect to THE MAGNIFICENT AMBERSONS as indicated in your cable of the 18th, only because I wanted to write you under confidential cover.
Of course, when you ask me for my reaction, I know you want it straight, and though it is difficult to write you this way, you should hear from me.
Never in all my experience in the industry have I taken so much punishment or suffered as I did at the Pomona preview. In my 28 years I the business, I have never been present in a theater where the audience acted in such a manner. They laughed at the wrong places, talked at the picture, kidded it, and did everything that you can possibly imagine.
I don't have to tell you how I suffered, especially in the realization that we have over $1,000,000. tied up. It was just like getting one sock in the jaw after another for over two hours.
The picture was too slow, heavy, and topped off with somber music, never did register. It all started off well, but just went to pieces.
I am sending you copies of all the preview cards received to date. They speak for themselves and do not tell the whole story because only a small percentage of people make out cards. I queried many of those present and they all seemed to feel that the party who made the picture was trying to be "arty," was out for camera angles, lights and shadows, and as a matter of fact, one remarked that "the man who made that picture was camera crazy." Mind you, these are not my opinions--I am giving them to you just as I received them.
The punishment was not sufficient, and as I believed in the picture more than the people did, I hiked myself to Pasadena again last night, feeling sure that we would get a better reaction. We did, but not, of course, in its entirety. There were many spots where we got the same reaction as we did in Pomona. I think cutting will help considerably, but there is no doubt in my mind but that the people at Pasadena also thought it was slow and heavy. The somber musical score does not help.
While, of course, the reaction at Pasadena was better than Pomona, we still have a problem. In Pomona we played to the younger element. It is the younger element who contribute the biggest part of the revenue. If you cannot satisfy that group, you just cannot bail yourself out with a $1,000,000. investment—all of which, Orson, is very disturbing to say the least.
In all our initial discussions, you stressed low costs, making pictures at $300,000. to $500,000. We will not make a dollar on CITIZEN KANE and present indications are that we will not break even. The final results on AMBERSONS is still to be told, but it looks "red."
All of which reminds me of only one thing—that we must have a "heart to heart" talk. Orson Welles has got to do something commercial. We have got to get away from "arty" pictures and get back to earth. Educating the people is expensive, and your next picture must be made for the box-office.
God knows you have all the talent and the ability for writing, producing directing—everything in CITIZEN KANE and AMBERSONS confirms that. We should apply all that talent and effort in the right direction and make a picture on which "we can get well."
That's the story, Orson, and I feel very miserable to have to write you this.

My very best as always,
George Schaefer

[ToddBaesen]

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After the two AMBERSONS previews, Schaefer began to consult with Robert Wise, Joseph Cotten and Welles' business manager, Jack Moss on how to best go about shortening AMBERSONS. Jack Moss sent Welles a detailed cable suggesting cuts that he, Wise and Cotten felt might help the film play better to audiences.

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JACK MOSS TO ORSON WELLES (excerpt):
March 23, 1942

Dear Orson:

As cabled Pomona preview generally unsatisfactory. Pasadena preview better reception. Following is way picture was previewed in Pomona. Continuity (the same) as picture was shot (until the) end of carriage scene with Jack and Major. Fade out here. Drop porch scene, fade in on Eugene and Isabel at Tree. Continuity follows as shot, up to new scene (where George finds Isabel unconscious in her bedroom). Made your big cut and come to group in hall exterior of Isabel's room. Continuity again as shot, up until the Indian Legend (scene with Cotten and Baxter) and accident scene - both dropped. Fade in on accident insert (newspaper). Continue to end as shot.

Following is way picture was previewed at Pasadena. First cut, factory scene. Second cut, first porch scene. Third cut, bathroom scene with Jack and George. Continuity again as shot. Put back all of your big cut, except Major and Fanny in second porch scene. Continuity as shot to end of railroad station, Jack's goodbye scene. Followed by Fanny's boiler scene, Bronson's office, George's walk home, Indian legend, accident, lap out on accident, omitting line "riffraff." Lap from newspapers to Eugene exiting hospital, to process shot where Eugene says, "take me to Miss Minafers," to boarding house. Boarding house cut down. Put line "that's the end of the story," under fade out on matte shot of street.

Schaefer and his associates advocate many drastic cuts mainly for purposes of shortening length. Bob Wise, Joe Cotten and myself have conferred analyzing audience reactions exercising our best judgment and we believe the following suggested continuity would remove slow spots and bring out heart qualities of picture.

(Moss goes on to describe many suggestions for cuts throughout the picture, inviting Welles to make comments about them. Most of the changes were eventually made for the version of AMBERSONS that was finally released by RKO).

Please cable or phone your decisions and instructions.

Love from all,
Jack

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[ToddBaesen]

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Welles reply to the cuts and changes suggested by Jack Moss, Wise and Cotten, was to ask RKO to have Robert Wise sent to Brazil with the work print of AMBERSONS, so Welles could make the needed editing changes in person.

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ORSON WELLES TO JACK MOSS:
March 24, 1942

MY ADVICE ABSOLUTELY USELESS WITHOUT BOB WISE HERE. SURE I MUST BE AT LEAST PARTLY WRONG, BUT CANNOT SEE REMOTEST SENSE IN ANY SINGLE CUT OF YOURS, BOBS, JO'S. REALIZE I HAVEN'T SEEN COMPLETED FILM WITH AUDIENCE REACTION, BUT CANNOT EVEN BEGIN DISCUSSING ON PROPOSALS AS RECEIVED WITHOUT DOING ACTUAL WORK ON ACTUAL FILM, WITH BOB HERE.

ORSON

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[Fredric]

Man oh Man!

It is the younger element who contribute the biggest part of the revenue. If you cannot satisfy that group, you just cannot bail yourself out with a $1,000,000. investment—all of which, Orson, is very disturbing to say the least.

and

Orson Welles has got to do something commercial. We have got to get away from "arty" pictures and get back to earth. Educating the people is expensive, and your next picture must be made for the box-office. God knows you have all the talent and the ability for writing, producing directing—everything in CITIZEN KANE and AMBERSONS confirms that. We should apply all that talent and effort in the right direction and make a picture on which "we can get well."

Oh, I feel so sick to my stomach. Even back then they were catering to the Sheople. Baaaaa.

Weeping. Weeping.

[Le Chiffre]

Thanks for posting those memos, Todd. Most of them are in Carringer's Ambersons book, but that book is now out of print, unfortunately.

RKO records indicate that, on March 10, 1942, seven days before the Pamona preview, an additional scene for Ambersons was shot - directed by someone other then Welles (probably Wise), since Welles was already in Rio. Obviously, this was the scene where George finds Isabel unconscious. The "big cut' Moss refers to involved several scenes totaling about 14 minutes. So, for the first preview in Pamona, the sequence of events in the story went as follows:

Eugene writes the letter to Isabel ('Don't strike my life down twice, dear')
Isabel has a heart attack after reading it, and dies shortly afterwards.

As Carringer notes, this was 'pure melodrama', a B-movie touch that 'destroyed the delicate emotional balance' of Welles's original conception. Noone seems to have liked the 'big cut' except Welles, and it is very plausible that he had gotten cold feet about the Oedipal nature of these scenes...for whatever reason. The Vanity Fair article concurs with Carringer when it says,

"Curiously enough, the first blow against (the full 132-minute) version was dealt not by RKO but by Welles himself. Before he'd even received the composite print, he impulsively ordered Wise to cut 22 minutes from the middle of the film, mostly scenes concerning George Minafer's efforts to keep his mother and Eugene apart."

Interestingly, in THIS IS ORSON WELLES, Rosenbaum and Bogdanovich contend the 'the big cut' was never made, that the scene of George finding Isabel unconscious was never filmed, and that the Pamona running time was a little over 120 minutes (both Carringer and Vanity Fair agree that it was about 110 minutes). Only Robert Wise knows for sure, but Carringer's account seems pretty well confirmed by Moss's memo to Welles. Thanks again for posting it.

[ToddBaesen]

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Here's the version of the long sequence where the camera explores the deserted Amberson mansion, as taken from Welles original script. The scene was apparently shot, but for some reason never included in any of the rough cuts of the film.

STANLEY CORTEZ: For one sequence, when the camera explored the Amberson mansion after everyone has left it, I took the shoes off my operator and with a heavy Mitchell camera he walked up the stairs with it and through the empty rooms. We used a periscopic finder, and a thirty-one inch lens. He had to move and we had to choreograph him like a ballet dancer as he walked, so the weight was not unbearably heavy.

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145 FULL SHOT - of the Amberson mansion seen from behind George who is standing in front of the camera. He starts walking toward the mansion. CAMERA FOLLOWS, moving faster than he does and soon is so close to him that his body creates a dark screen for a:

DISSOLVE TO:

146 CAMERA on the steps of the Amberson mansion moving up to the door and STOPPING. George's hands enter the scene, insert a key in the lock, turn it --


NARRATOR
Tonight would be the last night that he and Fanny were to spend in the house which the Major had forgotten to deed to Isabel.
Tomorrow they were to move out...


147 ON the Narrator's words "move out" the door opens and CAMERA MOVES through it into the house.


NARRATOR
Tomorrow everything would be gone. The very space in which tonight was still Isabel's room would be cut into new shapes by new walls and floors and ceilings.


147 (Cont'd) MOVING SHOT as CAMERA WANDERS SLOWLY about the dismantled house -- past the bare reception room; the dining room which contains only a kitchen table and two kitchen chairs; up the stairs close to the smooth walnut railing of the balustrade. Here CAMERA STOPS for a moment, then PANS down to the heavy doors which mask the dark, empty Library. HOLD on this for a short pause, the CAMERA PANS back and CONTINUES even more slowly up the stairs to the second floor hall where it MOVES up to the closed door of Isabel's room. The door swings open and we see Isabel's room as it always has been; nothing has been changed.


FADE OUT
Narrator talks through the fade.


NARRATOR
And if space itself can be haunted as memory is haunted, then it may be that some impressionable overworked woman in a "kitchenette" after turning out the light, will seem to see a young man kneeling in the darkness, with arms outstretched through the wall clutching at the covers of a shadowy bed. It may seem to her that she hears the faint cry, over and over...


148 The dark screen FADES INTO a VERY CLOSE SHOT on George's back, and immediately CAMERA PULLS AWAY showing George, kneeling beside Isabel's bed, his hands clutching the covers. Right after the narrator's words: "over and over" we hear:

GEORGE
Mother, forgive me! God, forgive me!


NARRATOR
Something had happened - a thing which, years ago had been the eagerest hope of many, many good citizens of the town, and now it came at last: George Amberson Minafer had got his comeuppance. He got it three times filled, and running over. But those who had so longed for it were not there to see it, and they never knew it.


148 (Cont'd) CAMERA CONTINUES PULLING AWAY until it holds A FULL SHOT of the room with George kneeling motionless at the bed. HOLD on this until narrator says, "and they never knew it." The scene starts:

SLOW DISSOLVE TO:


149 SHOT of the Amberson mansion - massive as the old house is, it manages to look gaunt: it's windows stare with the skull emptiness of all windows in empty houses that are to be lived in no more. Of course the rowdy boys of the neighborhood have been at work; many of these haggard windows are broken, the front door stands ajar, forced open; and idiot salacity, in white chalk is smeared everywhere upon the pillars and stonework of the veranda.


NARRATOR
Those who were still living had forgotten all about it, and all about him.



FADE OUT

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[ToddBaesen]

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Although Welles wanted to re-cut AMBERSONS with Robert Wise coming to Rio, he must have realized that Wise would most likely not be coming - even after he got this memo from Jack Moss, saying that Wise was attempting to come - because he sent his own detailed list of changes to be made to AMBERSONS the next day.

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JACK MOSS TO ORSON WELLES:
March 25, 1942

Dear Orson:

Every effort being made to secure immediate passage for Bob. We all agree your decisions on AMBERSONS dependent upon actual work with actual film.

Jack


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ORSON WELLES TO JACK MOSS (excerpt):
March 27, 1942

This is a preliminary list of AMERSON cuts. Details follow tomorrow morning.

(Welles went on to list many major changes he thought would improve the film's audience acceptance, giving extensive instructions for scenes to be re-shot, re dubbed, or re-edited throughout the picture. Welles largest cut was the deletion of all the scenes related to George and Isabel's European Trip).


REEL FIVE - Following is new scene:

Very slow FADE IN
Interior of Eugene's house. Eugene at desk near window in the late afternoon, blacklit.

TIGHT SHOT of Eugene writing almost in silhouette. Sound of pen as he signs his name and puts down pen. Looks back to top of page, as he reads letter to himself, his lips not moving. His voice reads letter heard on track with music as in present version of letter sequence.

New text of letter as follows:

Yesterday I thought the time had come when I could ask you to marry me, and you were dear enough to tell me sometime it might come to that. But now we come to this dear.-- Will you live your own life your way of George's way?---Oh, Dearest woman in the world, I know what your son is to you and it frightens me. Dear, it breaks my heart for you but what you have to oppose now is the history of your own selfless and perfect motherhood. Are you strong enough, Isabel? Can you make the fight?

Now CUT or QUICK DISSOLVE to Isabel seated as she looks up from letter then rises.
Here is added line of Eugene's narration for this setting:
I know your aren't quite well dear -- But…
I promise you that if you will take heart for it…

And so on through-- DISSOLVE TO:

George (outside of Isabel's room).

Play through George entering Isabel's room, including the new scene where he finds her unconscious which should be terrific if camera is close enough and moving with him as he drops to feel her and takes her in his arms before we FADE OUT. Again emphasize tremendous importance that this shot be beautifully done with music very strong.

(Welles apparently felt that by removing large portions of non-essential story material — in this case all the scenes pertaining to George and Isabel's trip to Europe — he could save the key material he really hoped to keep, such as the very downbeat ending. If Welles suggested cuts had been carried out, instead of having Isabel choose George over Eugene by going abroad, Welles would have simplified her conflicted decision by merely indicating Isabel has become too ill to consider Eugene's proposal (by substituting a new scene, where George would simply find Isabel unconscious in her bedroom).

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[jaime marzol]

todd
that sceenplay excerpt where george is asking for forgiveness is incredible. where are you getting this stuff from? i have a lot of the correspoandance between welles and schaffer, but i haven't seen thos screenplay parts anywhere. great stuff.

[ToddBaesen]

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Although David Kamp's article on AMBERSONS would seem to be fairly accurate, it's hardly to be taken as gospel. For instance, notice that he mentions Welles big cut being 22 minutes. This is quite obviously mistaken, as Welles big cut was only about 14 minutes - all the scenes relating to Isabel and George's European Trip. However there appears to be no evidence of Welles actually ordering this cut. So like Jonathan Rosenbaum and Bogdanovich, I reserve judgement on whether that cut actually occured for Ponoma, although I admit, it does seem likely. But other than the memo from Jack Moss, which could easily be incorrect, there is no accurate record of what version of the film was actually shown in Ponoma. So for anyone to say (i.e. Kamp, Higham, or Carringer) with absolute certainty what was cut for the first Ponoma preview, is really just pure conjecture on their part (and in the case of Higham, who had access to all these memos, it's usually totally wrong).

If you look at the memo Bob Wise sent on March 16th, you see that Schaefer has already ordered at least three scenes cut for the Pomona preview - including BOTH Porch scenes and The Factory scene. But according to Jack Moss's memo, only one porch scene was cut, and the factory scene remained intact. So is Moss's memo accurate? We don't really know, do we?

Faced with the conflicting evidence it all amounts to this: who do you believe?

Schaefer also alludes to being punished for over two hours at the Ponoma preview, and the official RKO records for the Pomona preview list the running time as 132 minutes. So like many things about Welles career, these are questions that in all likelihood will never be reconciled.

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[ToddBaesen]

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Here's the report Robert Wise sent to Welles on the two previews. In retrospect, it seems incredible that experienced film people like Schaefer and Wise would take two previews as the be all and end all regarding how AMBERSONS might be received nationwide. Obviously, the previews were not good, but to base their reactions on a bad preview in Ponoma seems very questionable. Imagine if the film had been previewed in a more upscale market, like say, San Francisco, and gotten mostly favorable comments? And even in it's 88 minute version, AMBERSONS somehow impressed enough film industry folks to get itself nominated for FOUR Academy Awards, including BEST PICTURE - not an easy task for a film that was released in July. So if that first preview had gone only slightly better, today, we just might have the complete Welles version of AMBERSONS to savor.


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ROBERT WISE TO ORSON WELLES (excerpt):
March 27, 1942

Dear Orson:

You asked for a detailed report of preview audience reactions and I have never tackled a more difficult chore. What I mean is, it's so damn hard to put on paper in cold type the man times you die through the showing-- the too few moments you are repaid for all the blood and suffering that goes into a show.

With God's help and a sigh, here's a rough breakdown of the previews:

To start with, the audience seemed very restless and impatient during the first three or four reels of the show. It's not that there were any bad reactions or laughs during this part of the picture, but I had figured on more chuckles and general enjoyment.

Things like Joe's fall on the fiddle, the derby hat, shoes, different clothes, etc. got only a part of the laughs I'd expected.



At Pomona we got a big hand and what seemed to be a sigh of relief on your line: "That's the end of the story." At both previews there were too many people who walked out all during the show. This can be attributed, I think, to the great length and slow pace. The picture does seem to bear down on people.

Please believe me that notwithstanding all in this report, we are all certain that the basic quality of the show was appreciated and it is merely a matter of gentle, tireless and careful study and work to resolve the MAGNIGICENT AMBERSONS into a real proud Mercury production.

Warmest regards,
Bob Wise

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