Dawson interview # 4

[Black Irish]

MD (Friday):
I am at a funeral did you and Ray have an opportunity to screen Chimes opening?

MD:
(2:55 am, Sunday)
Just touching base. Was wondering what Ray thought?

*
MT:
Ray said he liked it but was unsettled by the sound. I pretty much know what he means, although I like the sound myself. If you release it, some critics might be ready to compare it with the '92 Othello and complain that the marriage of picture and sound doesn't seem as homogeneous as the mono version. I suppose that's a tradeoff you'll have to accept. I for one would still like to see your version out there.

*
MD:
Was Ray referring to the music or the effects? What did he think about the dialog track? Again, and unlike Othello, nothing was re-recorded. The music is the original master provided by Cam Cine. And the effects are Welles' effects. I think if you have an individual who is not familiar with the background history and you say watch both versions and which do you like the best.... it’s going to be somewhat unanimous that our version is going to stand out. My new post production partner has informed me that is the case with at least two dozen sample reactions. Apparently he took the liberty of screening to people who have never seen the film or are even aware of its existence. He did this for the purpose of pure objectivity.

As far as the critics are concerned re Othello, there was only one who openly objected. And that was Jonathan Rosenbaum. And he mentored Francois Thomas, and the rest is history. Everyone else gave it praise and four stars. Othello received a ten minute standing ovation in Cannes in 92. I am convinced if the forensic circumstances were not put forth, people would just react like they did when Chimes was screened in Memphis.

The real irony is that for decades critics and people in general were "unsettled" by a somewhat unanimous opinion (even among Welles fans) that the film was a flawed masterpiece due to having a shitty sound track. And for that reason Welles naysayers pointed to both Othello and Chimes as examples of Welles downward fall from Citizen Kane. Again, and it’s just my opinion, it's a continuation of the "dirty plate syndrome"

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MT (unsent):
Only Rosenbaum objected at the time, but most other critics were probably ecstatic to just have the film back in circulation, looking and sounding so good (I’d be willing to bet that many critics of the time had never even seen the film at all.) Nowadays, Rosenbaum’s argument has become common knowledge and I’ve heard it parroted on Wellesnet numerous times. I don’t necessarily agree with it, but it has seemed to gain the upper hand among many, if not most Welles fans, although your version still has its defenders too. It would be nice to have your thoughts on the recent Criterion Bluray of Othello in the interest of full awareness.

As far as Chimes goes, neither I nor Ray can judge your restoration from a 3-minute sample, as nice as that sample is. I would need to see the whole thing to see how well it works or to see how much better it is than the Criterion Blu. Can that be arranged sometime? Maybe for this year’s OW creative arts fest? Maybe the same print that Margueritte Rippy saw?


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[Black Irish]

Hey Mike,

I meant to send these pix to you a couple of weeks ago. Sorry. Again, not for public dissemination. As you can tell from the leader this master AB roll negative was made at LTC lab in St Cloud just outside of Paris. That was the lab specified in the original Protocol Accord which is probably why Harry Saltzman was in possession of it. And we are doing a 6K transfer!

Saw They Will Love Me When I am Dead. I can't remember if we spoke about the doc And you probably have seen it. But here is my take I copied from correspondence with Coach Roskie's daughter (Todd School) :

It is a strange documentary. Not only were most of the interviews unidentified but the camera angles in some cases were so obtuse that I couldn’t tell who some of the individuals were until I recognized their voices. Joe McBride, for instance, is being interviewed and all you see is the back of his head. The next time he comes on camera all you see are his glasses and forehead?! At one point the film tries to explain how Bogdanovich and Welles had a falling apart. Interviews point out that that while Welles lived with Bogdanovich Welles left a burning cigar in his robe pocket. I guess this could have led to a fire and he ate too many fudgesicles. In other words, he outlasted his welcome. Oja Kodar informed me as to the real reason behind their rivalry which is too long for an email. It is my understanding that Cybil Shepherd who was interviewed (she tells the cigar story) is upset about that being the only part of her interview Morgan Neville used.

I totally understand someone wanting to be edgy in trying to push the aesthetics but it just came across as being a bit weird. At one point the doc talks about how Welles would smile like a Cheshire cat when he found out he had obtained financing for a project. At that point an animated cat is drawn in the corner of the frame!? But it does have some gems like screen test footage of Welles as a teenager. I am going to try and find out where that footage came from.

All in all I liked Through Orson's Eyes and The Magician better.

Warm Regards,
Michael

[Black Irish]

$$$$$$1. Un viejo carriage en una pequena procession funereal, avanzando a traves de callecitas hacia el cementerlo. Cuando Los creditos terminal la camara se detiene sobre una Cruz de Piedra que marca una tumba.

2. la Cruz llena el cuadro, casi en silueta contra el cielo. Cortada contra us superficie esta la simple palabra SANTA. sobre esta encuadre se escucha la coz de Santa. Habla lenta y simplemente.

Voz de Santa

no me creas una Santa porque

Santa fue mi nombre.
Fue Un numero...una cosa para
Rentar. Cuando rei, fui reprendida.
Cuando llore Nadie creyo en mis lagrimas.

1. Un viejo carriage en una pequena procession funereal, avanzando a traves de callecitas hacia el cementerlo. Cuando Los creditos terminal la camara se detainee sobre una Cruz de Piedra que marca una tumba.

2. la Cruz Lena el cuadro, casi en silueta contra el cielo. Cortada contra us superficie esta la simple palabra SANTA. sobre esta encuadre se escucha la coz de Santa. Habla lenta y simplemente.

Voz de Santa

no me creas una Santa porque

Santa fue mi nombre.
Fue Un numero...una cosa para
Rentar. Cuando rei, fui reprendida.
Cuando llore Nadie creyo en mis lagrimas.

mori miserablemente y nada deje. te contare mi historia, y aunque fui culpable, me pardonaras. Estoy segura - tan segura como Estoy de que Dios me ha perdonado.

FADE IN UNDER THE CREDITS

1. An old carriage in a small funereal procession, advancing through small streets towards the cemetery. When the credits end the camera stops on a stone cross that marks a grave.

2. The cross fills the picture, almost in silhouette against the sky. Written on it's surface is the simple word, SANTA, and on this shot the voice of Santa is heard, speaking slowly and simply:

VOICE OF SANTA
Do not believe me a Saint simply because
Santa was my name.

I was a number ... a thing for rent.
When I laughed, I was reprimanded.
When I cried, nobody believed in my tears.
When I died, it was miserably, with nothing left.

I will tell you my story, and although I was guilty, you will forgive me, I'm sure - just as sure as I am that God has forgiven me.

[Black Irish]

http://www.raintaxi.com/santa-a-novel-of-mexico-city/

Dolores Asúnsolo and López Negrete was her name. She was born in the state of Durango, in the bosom of a wealthy family of the time, and was the first Mexican actress to conquer Hollywood in the mid-1920s, still in the silent film stage. One step behind her came Lupe Vélez, the other Mexican woman of the time who in 1927 filmed The Gaucho with Douglas Fairbanks.

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Another writer who related, albeit indirectly, to this couple was Federico Gamboa. Since his novel Santa triumphed in Mexican cinema, he dreamed that his story would be filmed in the United States, so he sent a copy of his story to Dolores. Interestingly, it was Welles who was most enthusiastic about the story of this young woman from Chimalistac, and wrote a script for Dolores that was never filmed. However, Orson was so interested in Dolores that he even had a passion for Mexico: "How about we make a movie about the Nazis in your country? It would be a success!" Or, we filmed a film about the Conquest, and I I will be Cortes and you, La Malinche, if that does not appeal to you, I can do Father Hidalgo and you from the Corregidora. " These kinds of ideas suggested Welles to his beloved, at a time when their relationship was already more than public. They were just waiting for the divorce papers from Dolores to be completed in order to get married. Deep down, she was the typical self-sacrificing woman who gave up her career for her husband. During the time they were together, she did not do anything memorable, and increasingly thought of Mexico, somehow she sensed that she would have to do something interesting in the cinema of her own country.

On the other hand, Welles was called to Brazil, to film a film, in order to strengthen US relations with that country. As soon as he arrived, he went crazy with the Brazilians, of whom he fell in love. They say that he had all kinds of adventures, which, of course, made him forget Dolores, who sent him letters, telegrams, and called him on the phone. He never answered, happy as he was with the women of that country. So Dolores terminated their relationship. It was then that he returned to our country, where he accepted to act in the film María Candelaria. A year later, having completely forgotten about the obsession of his youth, Welles would marry Rita Hayworth, who would not do well with this arrogant and inconsiderate genius.

****************

[Black Irish]

la imagen de la Cruz desaparece de la pantalla. largo momento de obscuridad - corta a silencio, mientras nosotros

fade In

3. Puerta de Burdel - dia

Una mano femenina entra a escena - toca lenta, casi vacilantemente la puerto. es la Mano de Santa. una criada. eufrasia la informa que la llevara a ver a pepa

[Wellesnet]

the image of the Cross disappears from the screen. long moment of darkness - cut to silence, while we

fade In

3. Brothel door - day

A female hand enters the scene - the door moves slowly, almost hesitantly. It is the Hand of Santa, a servant. Euphrasia informs her that he will take her to see Pepa

[Black Irish]

Ray: Wow

Mike: As good as expected? Or "wow" in a bad way?

Ray: Very good - not perfect film - but very good. When I’m on the train I’ll send more details

Mike: How does movie compare to Graver/Mazolla?

Ray: Ha ha ha, That is a butchered assembly of scenes. This is a movie. No comparison at all.

Mike: Is there anything in Graver version that is NOT in Netflix?

Ray: Yes. Scenes play out longer, like Oja driving a car Underground lasts forever in the Graver assembly. It is ridiculous. As for the Orson edited scenes, The sex in the car is shorter than on the Welles workprint or one-man band. 9 minutes workprint, 7 minutes OMB, 5 minutes Netflix. It makes sense and it wouldn't seem right running at full length after the nightclub scene.

Mike: Interesting. Which performance impressed you the most?

Ray: Huston and Peter are great. I think Peter was probably the best one in the movie. Really, really happy with the score. And I am not a fan of Legrand's work

Mike: Didn't like his score for F For Fake?

Ray: No, I really never Got into him.

Mike: How is Joe in the film?

Ray: Nerd. Film geek. He does it well. Oja was great, seriously. In the party since she doesn’t talk but she conveys a lot of contempt with her eyes.

Mike: Interesting. Maybe that's why Beatrice didn't care for it.

Ray: I saw as much of Oja’s body as Orson did. And he lingers on her nude body. I think that killed BW

Mike: It'll be interesting to hear Oja's reaction to it.

Ray: I did not clock it but film within a film was 35 to 40 percent of entire film. It is not slighted

Mike: That's good.

Ray: I know they wanted the movie To be what he Scripted, but I think it could have been tighter. The Baron babbles a bit more than I wanted to hear.

Mike: 5-10 minutes tighter, maybe?

Ray: Yes. Minor quibble. I just wish it was even more scenes Peter and John together. There is a confrontation between Houston and Dale at the end. Returns to his home in the sports car. Dale is there having wandered around the empty party scene. Dale just stares at Huston who taunts him to go for a ride before speeding off.

Mike: The Baron posted on the old Welles board one time. He was 104 at the time. Or someone posted for him.

Ray: Many sequences we have never seen before. Bradley Pease Burroughs uncomfortable watching nude scenes from projection booth. They left in Orson’s voice interviewing Lilli Palmer

Mike: Really? Why?

Ray: Not sure why. Probably a nice tribute. He changes his pitch but it is him. You can’t tell Lilli scenes were shot in Europe. The editing makes it look like she is several scenes with Jake.

Mike: How does Dan Tobin come across? What I've seen of that whole section seems pretty un-PC

Ray: VERY. Hannaford and his guys come across as ugly bullies.

Mike: The Ford influence, perhaps.

Ray: Seems it. Spotted in party scenes .... Rich Little, Frank Marshall, Gary Graver, Richard Wilson. For me, best part was my screen credit

Mike: You deserved it!

Ray: Just for getting Beatrice to sign and not jump ship in February 2015 when her lawyer advised her to sue Filip

Mike: Sue Filip? For what?

Ray: He could not pay her cut until Oja allowed access to negative. Contractually, he was supposed to pay her everything on Jan 1 2015. Her lawyer felt she should seek the full payment as damages, and still retain the right to say no to accessing negative. I arranged for her to meet with Filip over breakfast at the Sedona film fest. He and Frank made two 5 percent advances out of their own pockets. She did not get paid until March 2017. Oja’s stalling almost caused Beatrice to sue. She would have gone down as the villain.

Mike: And the negative would probably still be in Paris. Incredible. Thank God that's all done with. Great job, Ray. What a miracle it is that this film got finished.

Ray: Filip put up with shit you and I would never accept. I kept thinking he was a pussy not to sue Oja. He never lost his cool. Even when she ordered University of Michigan to uninvite him to the centennial. Phil Hallman told me it was one of the worst things he’s ever been asked to do.

Mike: A lot of heroes in this story, yourself included, having to deal with these women. Maybe David Bordwell needs to be told the whole story.

Ray: Thanks. I liked the movie. Is it as good as Kane, Ambersons or Touch of Evil? No, but I like it more than I do The Trial, Mr. Arkadin, and The Immortal Story. Joe thinks I should write an article on all the behind-the-scenes. Honestly, if you would come across like I was bragging and I would violate trusts. Josh is going to update his book. He can tell the story.

Mike: I hope so. The bullshit deserves to be known.

[Black Irish]

sss