Other directors - links of interest
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Harvey Chartrand
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Other directors - links of interest
Welles pulled out of Peter Collinson's The Innocent Bystanders (1972), which I hear is an excellent espionage drama. Great cast — Stanley Baker, Geraldine Chaplin, Donald Pleasence, Vladek Sheybal, Dana Andrews, Ferdy Mayne and Aharon Ipalé. Script by James Mitchell, who wrote the screenplay for the very suspenseful spy thriller Callan (1974), starring Edward Woodward. Has anyone seen The Innocent Bystanders? It never shows up on TV in Canada. Nor is it available on video. Methinks Welles should have stuck with The Innocent Bystanders and turned down Necromancy (1972), probably his all-time worst film.
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ChristopherBanks
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IRREVERSIBLE (2003)
It's always difficult when someone takes things to extremes, because we end up with extreme points of view. There's nothing I find more boring than the "is it art or is it trash" argument, because I think it obscures the issues of the film itself.
I saw this film at the weekend in a festival showing (the censors here have only passed it for two theatrical showings at festivals, and have banned it from home video release) and was sickened and angered by it. Mainly angered. I was angry that someone would dare to put such disgusting images on film.
Now, I knew what I was in for - I researched opinions on the film extensively before going, so I knew about the notorious scenes, but I had also read the numerous praising words regarding technique, particularly the long takes which I am very partial to.
I am in a real quandary about this one. Interviews I've read with Gaspar Noe seem to reveal him as a shallow provocateur with a brilliant technical flair, but nothing underneath. My problem is, that I think he may have created a film that goes beyond his base intentions.
I found a number of profound issues were thrown up for me, namely impotence to change the world around me, how we as humans react to violence being inflicted on others, and the nature of predestination.
Has anyone else seen this film? I have read some threads on the Kubrick newsgroup about it that have gone on at length about Noe's wannabe-Kubrick aspirations, and to be honest, I'm not really interested in those, I'm more interested in specific analysis of what was shown and why.
I also wonder, as a secondary, what Welles' thoughts would have been on extreme cinema. Certainly "Salo" (which from what I've read, contains far worse content) was released within his lifetime, as were a number of violent, exploitative films such as "Cannibal Holocaust" and "I Spit On Your Grave". Does anyone have any information on this also?
It's always difficult when someone takes things to extremes, because we end up with extreme points of view. There's nothing I find more boring than the "is it art or is it trash" argument, because I think it obscures the issues of the film itself.
I saw this film at the weekend in a festival showing (the censors here have only passed it for two theatrical showings at festivals, and have banned it from home video release) and was sickened and angered by it. Mainly angered. I was angry that someone would dare to put such disgusting images on film.
Now, I knew what I was in for - I researched opinions on the film extensively before going, so I knew about the notorious scenes, but I had also read the numerous praising words regarding technique, particularly the long takes which I am very partial to.
I am in a real quandary about this one. Interviews I've read with Gaspar Noe seem to reveal him as a shallow provocateur with a brilliant technical flair, but nothing underneath. My problem is, that I think he may have created a film that goes beyond his base intentions.
I found a number of profound issues were thrown up for me, namely impotence to change the world around me, how we as humans react to violence being inflicted on others, and the nature of predestination.
Has anyone else seen this film? I have read some threads on the Kubrick newsgroup about it that have gone on at length about Noe's wannabe-Kubrick aspirations, and to be honest, I'm not really interested in those, I'm more interested in specific analysis of what was shown and why.
I also wonder, as a secondary, what Welles' thoughts would have been on extreme cinema. Certainly "Salo" (which from what I've read, contains far worse content) was released within his lifetime, as were a number of violent, exploitative films such as "Cannibal Holocaust" and "I Spit On Your Grave". Does anyone have any information on this also?
****Christopher Banks****
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Sir Bygber Brown
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I've noticed that, particularly in F for Fake and the scene from Other Side of the Wind, Welles' editing style is as furious as the most disconcerting new wave pictures, like Muriel. I also know Welles was (and is) revered in France, especially by new wave directors. This is probably naive of me, but which way around did the influence most go? Did Welles' editing style only get this radical after Godard? Or is it that we were only allowed to see Welles' editing in all its glory after the new wave had gone into full swing?
Welles tells us that Cohn removed what he calls shock effects from Lady from Shanghai - did this include the editing? Kane is edited so that the placing of scenes creates beautiful contrasts and disjunctions, but still each dialogue scene of Kane and Ambersons, at least, usually played out in one take. The rhythm of the cuts in these later works is absent from his earlier work.
Welles tells us that Cohn removed what he calls shock effects from Lady from Shanghai - did this include the editing? Kane is edited so that the placing of scenes creates beautiful contrasts and disjunctions, but still each dialogue scene of Kane and Ambersons, at least, usually played out in one take. The rhythm of the cuts in these later works is absent from his earlier work.
You may remember me from such sites as imdb, amazon and criterionforum as Ben Cheshire.
I came across this good relatively-unknown director - Christian Duguay. I don't know much about him, he did 'Art of War' which I haven't seen - all I know is that I picked up his 'Joan of Arc' DVD at a department store for $8 (it was a TV mini-series, I think) and it's a visually stunning tour-de-force. There's a bit of a penchant for Wellesian shots - dramatically effective upshots and lots of stylish inventiveness with lighting and what have you...
The guy that did Art of War with Wesley Snipes
The guy that did Art of War with Wesley Snipes
...and blest are those whose blood and judgment are so well commingled, that they are not a pipe for fortune's finger to sound what stop she please. Give me that man that is not passion's slave, and I will wear him in my heart's core...
Slings and Arrows
Is anyone familiar with this? Bard Central is offering the DVD series:
Feature: Slings and Arrows
Slings and Arrows is based in the fictional town of New Burbage where legendary theatrical madman Geoffrey Tennant (Paul Gross) returns to the New Burbage Theatre Festival, the site of his greatest triumph and most humiliating failure, to assume the Artistic Directorship after the sudden death of his mentor, Oliver Welles.
The name surely can't be a coincidence. The series dates to the early 2000s...
Feature: Slings and Arrows
Slings and Arrows is based in the fictional town of New Burbage where legendary theatrical madman Geoffrey Tennant (Paul Gross) returns to the New Burbage Theatre Festival, the site of his greatest triumph and most humiliating failure, to assume the Artistic Directorship after the sudden death of his mentor, Oliver Welles.
The name surely can't be a coincidence. The series dates to the early 2000s...
Hallelujah Trail - Major Dundee
I scored me Sam Peckinpah's 'Major Dundee' - at the supermarket - with Charlton Heston - it was nicely preserved because the rack is just in front of the frozen pizza section - Ironically, this movie is very similar to the previous one I got, 'Hallelujah Trail' (at the pharmacy). Both feature the US cavalry, similar plot involving retaliating against Indians, both from 1965, and both feature Jim Hutton in a similar supporting role, and both actually use that historical context to subtext the burgeoning counter-culture social unrest of the period. It's very weird watching these two back-to-back.
This movie, I find much more interesting - the social issues are handled with more depth and sympathy -it's a challengeing movie that's superbly filmed and really kind of harkens to a new era of moral ambiguity, complexity, and unsentimental realism albeit with an underlying conscience and humanity. One can see the influence of 'Lawrence of Arabia' and 'The Searchers' -
It would be interesting to compare both 1965 movies - it's amazing how the same basic themes can be handled in so diametrically opposite ways i.e. one is very commercial and conventional whereas the other is radical and challengeing.
This movie, I find much more interesting - the social issues are handled with more depth and sympathy -it's a challengeing movie that's superbly filmed and really kind of harkens to a new era of moral ambiguity, complexity, and unsentimental realism albeit with an underlying conscience and humanity. One can see the influence of 'Lawrence of Arabia' and 'The Searchers' -
It would be interesting to compare both 1965 movies - it's amazing how the same basic themes can be handled in so diametrically opposite ways i.e. one is very commercial and conventional whereas the other is radical and challengeing.
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Glenn Anders
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Werner Herzog Channels TOUCH OF EVIL?
"In a completely different stylistic vein, “Bad Lieutenant: Port of Call New Orleans,” which co-stars Eva Mendes as the coked-up call-girl lover of the anti-hero, reminded me of Orson Welles’ great “Touch of Evil.” Neither film really cares about who killed whom, or why. Their mixture of tones, from anguish to irony to grotesque slapstick to pathos, borders on the sociopathic or, at their peaks, the ecstatic.
Herzog’s achievement is far more modest than Welles’, but both swan dives into the cesspool ask the question: What happens when the enforcer becomes the exploiter? Without cheapening the memory of Katrina, Herzog sends McDonagh into a downward spiral, in a city struggling to pull itself out of the drain. Ferrara’s ’92 “Bad Lieutenant” is steeped in Catholic guilt; Herzog’s is steeped in nondenominational hypocrisy. Cage is a gas; the movie’s a peculiar, lingering variation on the themes of corruption and addiction. Herzog has made a film to join his “Grizzly Man” and “Encounters at the End of the World” in a fruitful decade of obsessional portraits."
-- Michael Phillips, from an ecstatic review of Werner Herzog's THE BAD LIEUTENANT: PORT OF NEW ORLEANS, 11/19/2009
Herzog’s achievement is far more modest than Welles’, but both swan dives into the cesspool ask the question: What happens when the enforcer becomes the exploiter? Without cheapening the memory of Katrina, Herzog sends McDonagh into a downward spiral, in a city struggling to pull itself out of the drain. Ferrara’s ’92 “Bad Lieutenant” is steeped in Catholic guilt; Herzog’s is steeped in nondenominational hypocrisy. Cage is a gas; the movie’s a peculiar, lingering variation on the themes of corruption and addiction. Herzog has made a film to join his “Grizzly Man” and “Encounters at the End of the World” in a fruitful decade of obsessional portraits."
-- Michael Phillips, from an ecstatic review of Werner Herzog's THE BAD LIEUTENANT: PORT OF NEW ORLEANS, 11/19/2009
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ToddBaesen
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Christopher Isherwood's A SINGLE MAN
This may be slightly off topic, but in the provocative new movie A SINGLE MAN, based on the novel by Christopher Isherwood there is an interesting classroom scene where the gay Prof. George Falconier played by Colin Firth is discussing the Aldous Huxley novel AFTER MANY A SUMMER DIES THE SWAN.
AFTER MANY A SUMMER was supposedly a take-off on W. R. Hearst and Marion Davies written in 1939 after Huxley arrived in Hollywood and Welles may have been influenced by it's subject matter when he made CITIZEN KANE.
Welles and Huxley later worked on the script of JANE EYRE and apparently they got along quite well.
In the scene from the script for A SINGLE MAN reproduced below, it is clear that the discussion can be seen as especially relevant to invisible "minorities" such as most gays were back in 1962, the year the movie is set in. Thus it becomes a powerful statement about why gay marriage is such a divisive issue today: the "Imagined fear" factor.
Obviously, if you haven't yet seen the movie, you may not wish to read the following excerpt from the script:
*****
INT. SAN TOMAS COLLEGE – GEORGE’S CLASS
George walks into class and places his briefcase on the desk. Most of the students continue to talk. George sits on the edge of the desk and reaches into his briefcase. He fumbles around for a moment, pauses, and then pulls out a book. He sits quietly with a slight look of disgust on his face staring directly at the talkers as, one by one, they succumb to his silence. Finally George speaks.
GEORGE
“After Many a Summer Dies the Swan.”
Blank stares.
GEORGE
I trust you’ve all read the Huxley
novel I assigned almost three weeks
ago? How does the title relate to
our story?
He looks around the room as a few hands go up.
GEORGE (CONTʼD)
Yes, Mr. Mong.
ALEX MONG
It doesn’t. It’s about this rich
guy who’s afraid he’s too old for
this girl.
George, irritated by the response of Mr. Mong closes his eyes tightly and takes a deep breath.
MYRON - a dark-complexioned young man with intense eyes and glasses- raises his hand.
GEORGE
Yes, Mr. Hirsch.
MYRON
Sir, on page 79, Mr. Propter says that the stupidest text in the
Bible is: “they hated me without a cause.” Does he mean the
Nazis were right to hate the Jews? Is Huxley an anti-Semite?
GEORGE
No.
The class stares at George, expecting more from such a provocative question.
GEORGE
No, Mr. Huxley is not an anti-Semite. The Nazis were obviously
wrong to hate the Jews. But their hating the Jews was not without a
cause… But the cause wasn’t real. The cause was imagined.
The cause was FEAR.
Curious stares.
GEORGE
Let’s leave the Jews out of this for a moment and think of another
minority. One that can go unnoticed if it needs to.
George looks directly at WALTER, a slightly effeminate young
man, who turns away embarrassed.
GEORGE
There are all sorts of minorities, blondes for example, but a minority
is only thought of as one when it constitutes some kind of threat to
the majority. A real threat or an imagined one. And therein lies the
FEAR. And, if the minority is somehow invisible...
Another glance at WALTER.
GEORGE
...the fear is even greater.
Another student, KENNY tries to find the target of George’s glance, but to no avail.
GEORGE
And this FEAR is the reason the minority is persecuted.
So, there always is a cause. And the cause is FEAR.
Minorities are just people. People like us.
Again a subtle look at WALTER, who shrinks in his seat.
GEORGE
I can see that I’ve lost you a bit.
You know what? Let’s forget about Huxley today.
George places his book on his desk. Several students look up from their notebooks.
GEORGE
Let’s just talk about fear. Fear, after all, is our real enemy.
Fear is taking over our world. Fear is being used as a tool of
manipulation in our society. It’s how politicians peddle policy
and how Madison Avenue sells us things that we don’t need.
Think about it. Fear that we’re going to be attacked,
fear that there are communists lurking around every corner, fear that some little Caribbean country that doesn’t believe in our way of life poses a threat to us.
Fear that black culture may take over the world.
Fear of Elvis Presley’s hips. (beat)
Well, maybe that one is a real fear.
Fear that our bad breath might ruin our friendships...
Fear of growing old and being alone.
George notices a few eyes looking over his shoulder at the clock on the wall which reads 12:05.
GEORGE
Fear that we’re useless and that no one cares what we have to say.
Some shift about uncomfortably in their seats, yet Kenny stares, amazed. George surveys the anxious class, realizing he has lost their attention.
GEORGE
Have a good weekend.
George closes his book, shoves it in his briefcase, and walks out the door as his students gather their things. Kenny gets up to follow after George but Lois corners him to talk.
EXT. SAN TOMAS COLLEGE - ARTS BUILDING. DAY – LATER
George is heading briskly towards the administration building when he hears Kenny’s voice.
KENNY
Sir! May I speak to you for a minute?
I have to go down to the bookstore.
George pauses allowing Kenny to catch up to him and then the two men begin walking.
KENNY
Why don’t you talk to us like that all the time?
GEORGE
I don’t think it went over very well.
KENNY
Man, fear of things gets to me all the time,
but you can’t talk about it with anyone
or you just sound like a fool.
GEORGE
You can’t even talk about it with Lois?
KENNY
I don’t think she’s afraid of anything.
GEORGE
Everyone’s afraid of something, Kenny.
KENNY
What are you afraid of sir?
GEORGE
Cars.
KENNY
How can you live in Los Angeles and be afraid of cars?
GEORGE
Maybe you can’t.
KENNY
Sometimes my fear of things can almost paralyze me.
It’s like I get really panic stricken and I feel like I might explode or something... May I ask you a personal question sir?
GEORGE
Of course.
KENNY
Do you ever get high?
George stops walking.
GEORGE
How old do I look to you?
KENNY
Have you ever taken any drugs sir?
GEORGE
Of course, Kenny.
KENNY
Like what?
GEORGE
I shouldnʼt really be discussing
this with you on campus Mr. Potter.
George begins walking and Kenny follows.
KENNY
Itʼs the only way I get by
sometimes. Have you ever tried
mescaline?
GEORGE
Not my drug of choice. I shaved off
one of my eyebrows once on
mescaline. Not a good look for me.
KENNY
Sir?
GEORGE
I looked in the mirror - big
mistake if youʼre high on mescaline
- and decided that my eyebrows were
taking over my face and before I
knew it, I had shaved one off. I
wore a band-aid over my eye for
about 6 weeks while my brow grew
in. Very embarrassing.
KENNY
You didnʼt take it again after
that?
George stops.
GEORGE
Kenny, have you been listening to
me? I shaved off my eyebrow. I
wanted an experience Mr. Potter,
not a career on stage.
*****
Knowing Welles political views and his love of the Bible, I found A SINGLE MAN to be quite a fascinating movie.
John 15:25
But this cometh to pass, that the word might be fulfilled that is written in their law, they hated me without a cause.
AFTER MANY A SUMMER was supposedly a take-off on W. R. Hearst and Marion Davies written in 1939 after Huxley arrived in Hollywood and Welles may have been influenced by it's subject matter when he made CITIZEN KANE.
Welles and Huxley later worked on the script of JANE EYRE and apparently they got along quite well.
In the scene from the script for A SINGLE MAN reproduced below, it is clear that the discussion can be seen as especially relevant to invisible "minorities" such as most gays were back in 1962, the year the movie is set in. Thus it becomes a powerful statement about why gay marriage is such a divisive issue today: the "Imagined fear" factor.
Obviously, if you haven't yet seen the movie, you may not wish to read the following excerpt from the script:
*****
INT. SAN TOMAS COLLEGE – GEORGE’S CLASS
George walks into class and places his briefcase on the desk. Most of the students continue to talk. George sits on the edge of the desk and reaches into his briefcase. He fumbles around for a moment, pauses, and then pulls out a book. He sits quietly with a slight look of disgust on his face staring directly at the talkers as, one by one, they succumb to his silence. Finally George speaks.
GEORGE
“After Many a Summer Dies the Swan.”
Blank stares.
GEORGE
I trust you’ve all read the Huxley
novel I assigned almost three weeks
ago? How does the title relate to
our story?
He looks around the room as a few hands go up.
GEORGE (CONTʼD)
Yes, Mr. Mong.
ALEX MONG
It doesn’t. It’s about this rich
guy who’s afraid he’s too old for
this girl.
George, irritated by the response of Mr. Mong closes his eyes tightly and takes a deep breath.
MYRON - a dark-complexioned young man with intense eyes and glasses- raises his hand.
GEORGE
Yes, Mr. Hirsch.
MYRON
Sir, on page 79, Mr. Propter says that the stupidest text in the
Bible is: “they hated me without a cause.” Does he mean the
Nazis were right to hate the Jews? Is Huxley an anti-Semite?
GEORGE
No.
The class stares at George, expecting more from such a provocative question.
GEORGE
No, Mr. Huxley is not an anti-Semite. The Nazis were obviously
wrong to hate the Jews. But their hating the Jews was not without a
cause… But the cause wasn’t real. The cause was imagined.
The cause was FEAR.
Curious stares.
GEORGE
Let’s leave the Jews out of this for a moment and think of another
minority. One that can go unnoticed if it needs to.
George looks directly at WALTER, a slightly effeminate young
man, who turns away embarrassed.
GEORGE
There are all sorts of minorities, blondes for example, but a minority
is only thought of as one when it constitutes some kind of threat to
the majority. A real threat or an imagined one. And therein lies the
FEAR. And, if the minority is somehow invisible...
Another glance at WALTER.
GEORGE
...the fear is even greater.
Another student, KENNY tries to find the target of George’s glance, but to no avail.
GEORGE
And this FEAR is the reason the minority is persecuted.
So, there always is a cause. And the cause is FEAR.
Minorities are just people. People like us.
Again a subtle look at WALTER, who shrinks in his seat.
GEORGE
I can see that I’ve lost you a bit.
You know what? Let’s forget about Huxley today.
George places his book on his desk. Several students look up from their notebooks.
GEORGE
Let’s just talk about fear. Fear, after all, is our real enemy.
Fear is taking over our world. Fear is being used as a tool of
manipulation in our society. It’s how politicians peddle policy
and how Madison Avenue sells us things that we don’t need.
Think about it. Fear that we’re going to be attacked,
fear that there are communists lurking around every corner, fear that some little Caribbean country that doesn’t believe in our way of life poses a threat to us.
Fear that black culture may take over the world.
Fear of Elvis Presley’s hips. (beat)
Well, maybe that one is a real fear.
Fear that our bad breath might ruin our friendships...
Fear of growing old and being alone.
George notices a few eyes looking over his shoulder at the clock on the wall which reads 12:05.
GEORGE
Fear that we’re useless and that no one cares what we have to say.
Some shift about uncomfortably in their seats, yet Kenny stares, amazed. George surveys the anxious class, realizing he has lost their attention.
GEORGE
Have a good weekend.
George closes his book, shoves it in his briefcase, and walks out the door as his students gather their things. Kenny gets up to follow after George but Lois corners him to talk.
EXT. SAN TOMAS COLLEGE - ARTS BUILDING. DAY – LATER
George is heading briskly towards the administration building when he hears Kenny’s voice.
KENNY
Sir! May I speak to you for a minute?
I have to go down to the bookstore.
George pauses allowing Kenny to catch up to him and then the two men begin walking.
KENNY
Why don’t you talk to us like that all the time?
GEORGE
I don’t think it went over very well.
KENNY
Man, fear of things gets to me all the time,
but you can’t talk about it with anyone
or you just sound like a fool.
GEORGE
You can’t even talk about it with Lois?
KENNY
I don’t think she’s afraid of anything.
GEORGE
Everyone’s afraid of something, Kenny.
KENNY
What are you afraid of sir?
GEORGE
Cars.
KENNY
How can you live in Los Angeles and be afraid of cars?
GEORGE
Maybe you can’t.
KENNY
Sometimes my fear of things can almost paralyze me.
It’s like I get really panic stricken and I feel like I might explode or something... May I ask you a personal question sir?
GEORGE
Of course.
KENNY
Do you ever get high?
George stops walking.
GEORGE
How old do I look to you?
KENNY
Have you ever taken any drugs sir?
GEORGE
Of course, Kenny.
KENNY
Like what?
GEORGE
I shouldnʼt really be discussing
this with you on campus Mr. Potter.
George begins walking and Kenny follows.
KENNY
Itʼs the only way I get by
sometimes. Have you ever tried
mescaline?
GEORGE
Not my drug of choice. I shaved off
one of my eyebrows once on
mescaline. Not a good look for me.
KENNY
Sir?
GEORGE
I looked in the mirror - big
mistake if youʼre high on mescaline
- and decided that my eyebrows were
taking over my face and before I
knew it, I had shaved one off. I
wore a band-aid over my eye for
about 6 weeks while my brow grew
in. Very embarrassing.
KENNY
You didnʼt take it again after
that?
George stops.
GEORGE
Kenny, have you been listening to
me? I shaved off my eyebrow. I
wanted an experience Mr. Potter,
not a career on stage.
*****
Knowing Welles political views and his love of the Bible, I found A SINGLE MAN to be quite a fascinating movie.
John 15:25
But this cometh to pass, that the word might be fulfilled that is written in their law, they hated me without a cause.
Todd
-
Le Chiffre
- Site Admin
- Posts: 2078
- Joined: Mon Jun 04, 2001 11:31 pm
John Barrymore as RICHARD III (excerpt)
Thanks to Larry French for the alert on Facebook. Scene from a 1929 film that I'd never heard of. Fascinating stuff, highly reminiscent of Welles's MACBETH:
http://www.youtube.com/watch?v=tdy2sUKxfDE
*
Barrymore as Ahab in the 1926 silent version of Moby Dick, called THE SEA BEAST. Adds to the novel by showing how Ahab lost his leg to the whale. Delores Costello, Welles's Isabel Amberson, plays Ahab's love interest:
http://www.youtube.com/watch?v=_qpyDzYT ... DF82E2E1A1
http://www.youtube.com/watch?v=tdy2sUKxfDE
*
Barrymore as Ahab in the 1926 silent version of Moby Dick, called THE SEA BEAST. Adds to the novel by showing how Ahab lost his leg to the whale. Delores Costello, Welles's Isabel Amberson, plays Ahab's love interest:
http://www.youtube.com/watch?v=_qpyDzYT ... DF82E2E1A1
Kubrick's "Dr. Strangelove" - 50th anniversary
Some interesting facts at this webpage:
http://parade.condenast.com/256476/vian ... te-titles/
Here's Kubrick's daughter Vivian chatting with Alex Jones in Dallas on the 50th anniversary of the JFK assassination:
http://www.youtube.com/watch?v=tonlH1wYgX0
New Kubrick discussion site:
http://www.reddit.com/r/StanleyKubrick/
http://parade.condenast.com/256476/vian ... te-titles/
Here's Kubrick's daughter Vivian chatting with Alex Jones in Dallas on the 50th anniversary of the JFK assassination:
http://www.youtube.com/watch?v=tonlH1wYgX0
New Kubrick discussion site:
http://www.reddit.com/r/StanleyKubrick/
PEER GYNT with Charlton Heston (1941)
Made in 1941, when Heston was a 17-year-old student at Northwestern University, this silent film of Hynrik Ibsen's 1860's play was made by David Bradley and uses the famous Edvard Grieg music. It is surprisingly watchable for an amateur effort, somewhat reminiscent of Heart of Age. According to Barbra Leaming's book, Orson Welles considered staging Peer Gynt just before the big offer from George Schaefer and RKO came in. Peer Gynt was also the very first production that MacLiammior and Edwards did to launch their new Gate Theatre. The occasionally surreal story concerns a young, self-centered playboy who becomes an unscrupulous capitalist. It's sometimes compared to Hamlet, but it also seems in line with both Kane and Ambersons.
https://www.youtube.com/watch?v=jnAiPSiRlLc
https://www.youtube.com/watch?v=jnAiPSiRlLc
A Girl Walks Home Alone At Night
New Iranian Vampire Western compared to Welles's "Touch of Evil":
http://www.bohemian.com/northbay/bloods ... id=2663221
http://www.bohemian.com/northbay/bloods ... id=2663221
Sergio Sollima
I've just learned of the death of Sergio Sollima at the age of 93. As well as being a key force in the Italian political western (THE BIG GUNDOWN, FACE TO FACE) he is mentioned in ORSON WELLES IN ITALY as a young critic around at the time Welles was filming in Italy and may also be quoted in this very fascinating book.
Avengers directors have Orson tell fans to be patient
The Russo Brothers, directors of the upcoming Avengers film, "Infinity War", have used one of Orson Welles's old Paul Masson commercials as a subtle message to anxious Marvel fans of how patience is a virtue:
https://www.cnet.com/news/avengers-infi ... ul-masson/
https://www.cnet.com/news/avengers-infi ... ul-masson/
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