Chimes at Midnight (Criterion, Blu-ray, DVD) has been difficult to see under any circumstances for at least the last three decades. It suffered from distribution issues during its original release (a woefully misguided pan by New York Times film critic Bosley Crowther, an old-school moralist at sea in the era of new visions, essentially sunk it American release) and has been in legal limbo thanks to competing claims of ownership for decades. Original 35mm prints had issues with image and sound mixing and timing and surviving prints were worn and degraded over time. After years of negotiating and gathering materials, the film was restored in 2015. The re-release was a revelation and the first time that many Americans had the opportunity to finally see the film that Welles had called his favorite (admittedly he had said that about more than one of his films over his career, but Chimes did hold a special place in his heart). Welles called Falstaff “the greatest creation by Shakespeare” and said of the film: “If I wanted to get into heaven on the basis of one movie, that’s the one I would offer up.”
Keith Baxter was a struggling young Welsh actor when Orson Welles tapped him to play Prince Hal in the 1960 stage production of Chimes at Midnight in Ireland. Like Welles’ earlier Five Kings, this massive production brought together elements of numerous Shakespeare plays, in particular Henry IV Part I and Henry IV Part II, to chronicle the education of a king, and like the earlier production is was commercial failure. But Welles was still determined to make his production. As Baxter related in a 1988 interview, “on the last night, coming back to England, he [Welles] said to me on the ship, ‘This is only a rehearsal for the movie, Keith, and I’ll never make it unless you play Hal in that, too.’” Welles was true to his word and Baxter, in his first major screen role, starred opposite Welles in a cast that included John Gielgud, Jeanne Moreau and Margaret Rutherford.
Mr. Baxter, now eighty-two years old and a grand old man of British and American theater, was in New York City to introduce the American debut of the new restoration if Chimes at Midnight on Friday, January 8. Before the event, he granted a few interviews. “Ask me whatever you want to ask,” he said with a bright enthusiasm as our phone conversation began.
Sean Axmaker: You starred as Prince Hal in the 1960 stage production of Chimes at Midnight with Orson Welles in Ireland. You were the only member of that production (besides Welles) to appear in the film. Was there any change in the way that you played Hal and in the relationship between Hal and Welles’ Falstaff between the stage production and the film a few years later?
Keith Baxter: Well not really, you know. The thing is that Welles discovered me when I was out of work, washing dishes, so it was a wonderful opportunity to play on the stage with him. And, how can I explain? He really loved me and I really loved him. I don’t mean in any sexual sense. I mean because he’d given me a whole opportunity to play a wonderful part with a great actor instead of washing dishes and being out of work. So of course I felt a tremendous debt towards him. And he was wonderful to act with. He didn’t direct the play in Dublin, it was directed by an old friend of his who had discovered him when he was a teenager in Ireland [ed. note: Hilton Edwards]. Because when we started rehearsing Welles wasn’t there for two weeks, he was in Paris working on his film of The Trial, so we rehearsed without him and then he arrived. And of course we were all mightily… not in awe of him, well yes, in awe of him, whatever, and it was quite clear that he liked acting with me and I was a source of light.
[Originally published in Movietone News 38, January 1975]
What do Hitchcock’s Rebecca (1940) and Welles’s Citizen Kane (1941) have in common? Quite a lot, it seems to me. And yet, in all my reading on film, I have run across only one brief speculation on the subject: Andrew Sarris’s, in the context of his rebuttals to Pauline Kael’s Kane articles.
Both films, to begin with, deal with the search for a hidden secret in the life of an important man, and both use a flashback framework as means of narration (though Rebecca maintains a single point of view through most of its story, while Citizen Kane crisscrosses the memories of several characters in a network of flashbacks). Both films are informed by the presence of a dead person, though Charles Foster Kane is the central character in Welles’s film, while Hitchcock’s title character never appears. Nevertheless, each film’s ghostly presence is signaled by the recurrent motif of an initial-monogram, ‘R’ and ‘K,’ respectively. In each film a scandal—hushed up in Rebecca, headlined in Kane—attends the end of the important man’s first marriage, and overshadows his second marriage to a “common” woman.
[This is a program note written for “The Cinema of Orson Welles,” the Autumn 1971 film series of the University of Washington Office of Lectures & Concerts, and distributed at the November 9, 1971, showing of the film.]
Mr. Arkadin is another of Welles’s European productions. The soundtrack is consequently erratic, and this, plus the fact that the storyline is so crowded with events and characters, suggests the advisability of offering a brief outline of the scenario for reference either before or after viewing:
*Pre-title sequence. Typed words: “A certain great and powerful king said to a poet, ‘What can I give you of all that I have?’ He wisely replied, ‘Anything, sir … except your secret.'” A plane is seen sweeping over a barren landscape. The director’s voice tells us that this pilotless craft was sighted one Christmas morning, that investigation of the incident “reached into the highest circles,” and that the attendant scandal very nearly toppled a government. “This motion picture is a fictionalized reconstruction of the events leading up to the murder, and to the appearance, last Christmas morning, of the empty plane.”
*The titles. The main title is formed out of newspaper cuttings. The cast is introduced in order of appearance, each seen in a subsequent shot from the film. Various other shots are seen now, to be repeated in context later.
“[I]t’s my own picture, unspoiled in the cutting or anything else…. The producers were heroic and got it made, and there isn’t anything I had to compromise—except no sets, and I was happy with the other solution, as it turned out, even though I was kind of in love with all the work I’d done. Still, I was happy enough to scuttle it, as I always am.”
–Orson Welles on The Trial, from This is Orson Welles
Orson Welles’ Touch of Evil (1959) is now celebrated as a masterpiece, but the version released in 1959 was not the film that Welles had intended and it was largely dismissed as a glorified B-movie. It had been for Welles one last attempt to make films inside the studio system and he brought the film in on time and on budget. Yet Universal thought that his labyrinthine nightmare of a crime movie was too dark and confusing for audiences and took the editing from his hands. Welles’ famous fifty-eight-page memo (which became the basis of a 1998 revision undertaken by producer Rick Schmidlin and editor Walter Murch) was politic, polite and even supportive of some of the changes made by Universal’s editor as it made the case for editing refinements. Welles played by the rules right to the end, attempting to work with the producers rather than fight them, but it became clear that Hollywood simply did not want the kinds of films that Welles made and he left for Europe. Never again did he work with the budgets or the resources of a major studio production. That was his trade-off for creative control.
The Trial (1963) was not Welles’ first project after Touch of Evil—he started shooting Don Quixote in Mexico and Spain and made a series of documentaries for Spanish TV—but it was the first film he completed after leaving Hollywood.
When handed the raw materials from an unfinished documentary about Elmyr de Hory, an art forger whose life was being written up by biographer Clifford Irving, Orson Welles took the opportunity to make something far beyond the concept of the traditional documentary. F for Fake has been called the Orson Welles’ first essay film, a true enough statement if you limit the accounting to feature films, but he had been doing short-form non-fiction since 1955, when he made Around the World with Orson Welles (a.k.a. Around the World) for British television.
It was ostensibly a series of travelogues, shot on location with Welles as tour guide, host, and narrator. Welles himself described them as “all sort of home movies—a vacation documented…,” but these are sort of home movies that only Welles could make. They are built on Welles’s public persona as much as on his directorial personality. He is “as always, obediently yours,” the worldly yet personable host who casts a spell with his voice, disarms with a boyish grin and invites the audience into his confidence as he tosses out cultural observations and historical asides.
Roberto Perpignani quite auspiciously made his official debut as professional film editor on Bernardo Bertolucci‘s feature debut Before the Revolution (1964). He went on to work with Bertolucci on The Spider’s Stratagem (1970) and The Last Tango in Paris (1972) and became the longtime editor for Paolo and Vittorio Taviani, a collaboration that begin in 1972 with St. Michael Had a Rooster. Perpignani won the David di Donatello Award (the Italian equivalent of the Oscar) for film editing three times, twice for Taviani films—The Night of the Shooting Stars (1982) and Caesar Must Die (2012)—and in between for the international hit Il Postino (1994). But it was Orson Welles that started his career as a film editor, first on In the Land of Don Quixote, a series of short documentaries that Welles made for Spanish TV, and then as one of his primary assistant editors on The Trial. Perpignani cut the film at a makeshift editing bay in the abandoned train station Gare d’Orsay in Paris, where Welles was shooting in another section of the station, and worked on the film practically up to its debut in the final weeks of December, 1962.
I had the great honor of meeting Perpignani when he came to Seattle to introduce a screening of Bertolucci’s The Spider’s Stratagem at the Seattle Art Museum, a 1999 event co-sponsored by the University of Washington. He graciously agreed to sit for an interview the next day. “I’m sorry my English is terrible today,” he remarked. “Worse than usual.” Perhaps, but it was certainly better than my Italian, and he had help translating some phrases and words from a professor of Italian Studies at University of Washington, who hosted the interview at his home. It’s with some embarrassment that I confess that in the years since I lost that man’s name, for he was essential in making this interview happen.
Orson Welles was born in Kenosha, Wisconsin, on May 6, 1915. This week marks his centenary: the hundredth anniversary of the birth of one of the most influential, ambitious, unique, and complicated filmmakers in the American cinema, or any cinema, for that matter. The occasion has been celebrated with a number of new books and documentaries on Welles, the first significant progress on completing his unfinished feature The Other Side of the Wind, retrospectives of his films, a tribute to Welles at the 2015 Cannes Film Festival, and a symposium at Indiana University featuring many of the top Orson Welles scholars in the world. Here’s what Parallax View contributors have written about Orson Welles. – Sean Axmaker
‘Citizen Kane’ by Richard T. Jameson
‘The Magnificent Ambersons’ by Richard T. Jameson
‘The Magnificent Ambersons’ by Robert Horton
The Earth is Made of Glass: Orson Welles’ ‘The Stranger’ by Peter Richards
‘The Lady from Shanghai’ by Richard T. Jameson
‘Othello’ by Richard T. Jameson
‘Mr. Arkadin’ by Richard Jameson
‘Touch of Evil’ by Richard T. Jameson
‘Touch of Evil’: Crossing the Line by Robert C. Cumbow
The Making, Unmaking and Reclamation of ‘Touch of Evil’ by Sean Axmaker
“A tremendous piece of filmmaking”: Walter Murch on ‘Touch of Evil’ interview
“Let’s give them something to really work with”: Rick Schmidlin on revising ‘Touch of Evil’ interview by Sean Axmaker
“A once in a lifetime project”: Bob O’Neil on restoring and revising ‘Touch of Evil’ interview by Sean Axmaker
“A rough, jagged, jarring, shaking-you-up kind of movie”: Janet Leigh on ‘Touch of Evil’ interview by Sean Axmaker
“Actors loved him”: Charlton Heston on Orson Welles and ‘Touch of Evil’ interview by Sean Axmaker
Cinematic Archeology: ‘Orson Welles’ Don Quixote’? Not even close by Sean Axmaker
Related features on other sites:
Orson Welles: The Enigmatic Independent (Sean Axmaker, Keyframe)
The Orson Welles Bookshelf (Sean Axmaker, Keyframe)
Rediscovery: Orson Welles’ ‘Too Much Johnson’ (Sean Axmaker, Keyframe)
Schooled by Orson Welles: Roberto Perpignani (Sean Axmaker, Keyframe)
Orson Welles goes ‘Around the World’ (Sean Axmaker, Keyframe)
Orson Welles: ‘The Trial’ (Sean Axmaker, Keyframe)
[Originally published on The Crop Duster]
This piece dates to a program note written for a Welles series in 1986. I was a co-founder, with Tom Keogh, of a nonprofit called Seattle Filmhouse, and we brought a few notable critics (Jonathan Rosenbaum and David Thomson among them), as well as Welles’ hard-working latterday cinematographer, Gary Graver, to Seattle to talk about the movies and the life. The note on The Magnificent Ambersons was meant to be read in close proximity to seeing the movie, of course, and reads that way. – Robert Horton
There are films that creep up on you, and there are films that astonish from the first frame. The films of Orson Welles may do many things, but they do not creep, and almost all of his movies begin with a striking image or sequence. None begins more beautifully than The Magnificent Ambersons; in this beginning is the word, Welles’ voice (his only presence as an actor in the movie), which starts its rolling rumble even before the fist image appears onscreen. “The magnificence of the Ambersons began in 1873,” he says, and the screen is still black until a gorgeously-appointed mansion emerges, looming majestically, dominating and defining the lithograph-like composition of the shot—as, indeed, the Amberson mansion and all the rich and sad meaning it embodies will seem to dominate and define and even obliterate the family it houses. Welles’ voice is rich and sad too, with that first line setting a nostalgic tone: listen to the rhyming sounds—magnificence, Ambersons, began—and consider the name Amberson itself, golden and preserving but also smoky, dark, fading, like the amber Sun or the amber son. (Kudos to Booth Tarkington, author of a novel that was partly based on Orson Welles’ father, for the canny choice.)
There are more published books on Orson Welles than on any other film director past or present.
The above statement is based on my own anecdotal, far-from-exhaustive and thoroughly unverified research, mind you and yes, it’s possible that Alfred Hitchcock tops him (if so it’s a close call), but why let the details get in the way of a dramatic statement? Welles certainly didn’t. Maybe that’s one reason for so many books—there’s so much myth behind the man.
There’s also so much career behind him. Welles made his name in theater and radio as a director, writer, producer and actor before coming to Hollywood, and he had a fascination with complex, contradictory characters who shaped their public images. His debut feature was built on the struggle to find the “key” insight to explain the character and motivation of a public figure and discovering a multiplicity of facets. Welles himself spun fictions around his own story, creating an aura of myth around the “boy wonder” genius that was taken for fact by many critics, while Hollywood (through gossip columnists and trade papers) created its own story: the “failed” genius who defied the system and was brought low by his own hubris. For most of his life, writers were content to print the legend(s), but there was is grist for multiple takes on his life and art in separating fact from fiction alone, never mind challenging clichés and preconceptions that have settled into common knowledge.
Now I should confess that I am somewhat obsessive when it comes to Welles. I own more than fifty books—biographies, studies, monographs, scripts, essay collections—on Welles, and that’s far from a complete accounting. For the vast majority of folks interested in delving deeper into the life and career of Welles, however, one book will suffice, at least as a starting point. The question is where to start?
The legend of Orson Welles looms so large it overtakes the man, a legend partly engineered by Welles himself from his beginnings in the theater. Welles was the enfant terrible of Broadway, the Depression-era hope of American Theater, the radical genius of radio. He came to Hollywood in grand style and on his own terms, a display of egotism so great that the Hollywood establishment turned up its nose and waited for his comeuppance. And he got it three times filled and running over, as far as they are concerned.
Welles completed only fourteen features in his lifetime, five of them Hollywood productions (it’s hard to consider the Republic-backed Macbeth, 1948, a studio film) and only one of those, Citizen Kane (1941), completed to Welles’ satisfaction and released in its intended form. It has been so longed hailed as “the greatest film ever made” (Sight and Sound and American Film Institute polls made it official for a time) that it’s become a dry truism. Along with its creator (and let’s face it, Pauline Kael was simply wrong: this is Welles’ creation), the legends surrounding the film have long overshadowed the actual production. Above all, Welles was a showman and Citizen Kane a three ring circus of cinematic ingenuity, a startlingly entertaining blend of dime store melodrama, historical biography, detective story, political drama, storytelling confabulation and plain old theatrical flourish. It has a cinematic brio and love of expressive possibilities that you rarely see from directors coming to the movies from the stage, but it also is a terrific piece of storytelling. Welles brought an understanding of power of sound design from the radio and applied a sophisticated, layered soundtrack and a pioneering piece of dramatic composition by Bernard Herrmann for the score. Stunningly designed to appear bigger and more lavish than its budget would support, brilliantly lit and shot by Gregg Toland with a creative invention that pushed the envelope of motion picture photography, Citizen Kane is a vital, exciting moment of American cinema brought back to life with every viewing.
[Expanded from a piece originally published on Greencine in 2003]
“And now I’m going to tell you a story about a scorpion. A scorpion wanted to cross a river, so he asked a frog to carry him. ‘No,’ said the frog. ‘No, thank you. If I let you on my back you may sting me, and the sting of a scorpion means death.’ ‘Now, where,’ asked the scorpion, ‘is the logic of that?’ – for scorpions always try to be logical – ‘If I sting you, you will die—I will drown.’ The frog was convinced and allowed the scorpion on his back but just in the middle of the river he felt a terrible pain and realized that after all the scorpion had stung him. ‘Logic!’ cried the dying frog as he started under, bearing the scorpion down with him. ‘There is no logic in this.’ ‘I know,’ said the scorpion, ‘but I can’t help it – it’s my character.’ Let’s drink to character.” – Orson Welles as Gregory Arkadin in Mr. Arkadin
The legend of Orson Welles looms so large it overtakes the man, a legend partly engineered by Welles himself from his beginnings in the theater. Welles was the enfant terrible of Broadway, the depression-era hope American Theater, the radical genius of radio. He came to Hollywood in grand style and on his own terms, a display of egotism so great that the Hollywood establishment turned up its nose and waited for his comeuppance. And he got it three times filled and running over.
Welles finished only 14 features in his lifetime, five of them Hollywood productions (it’s hard to consider the Republic backed Macbeth, 1948, a studio film) and only one of those, Citizen Kane, (1941) completed and released in its intended form. It’s has been so longed hailed as “the greatest film ever made” that’s it’s become a dry truism. With the AFI imprimatur stamped like some official seal, its reputation is in serious danger of becoming the least seen masterpiece around, and with its creator (and let’s face it, Pauline Kael was simply wrong: this is Welles’ creation) the legends surrounding the film have long overshadowed the actual production. Above all, Welles was a showman and Citizen Kane a three ring circus of cinematic ingenuity, a startlingly entertaining blend of dime store melodrama, historical biography, detective story, political drama, storytelling confabulation, and plain old theatrical flourish. Years ahead of its time in its layered use of sound and score (a pioneering piece of dramatic composition by Bernard Herrmann), stunningly designed, and brilliantly shot by Gregg Toland with a creative invention that pushed the envelope of motion picture photography, Citizen Kane is a vital, exciting moment of American cinema brought back to life with every viewing.
Too Much Johnson, the Orson Welles film (or rather film project) that was long thought lost (the last print was reportedly destroyed in a fire in Welles’ Spanish home in 1970), was found a few years ago and restored. It’s not a feature or even a short, per se, more of an experiment shot to accompany a production of the theater farce “Too Much Johnson,” but at least the first section plays just fine on its own as a tribute to silent slapstick comedy with Joseph Cotten doing Harold Lloyd antics and Buster Keaton chases as a serial philanderer pursued by a jealous husband. The film was unfinished but mostly complete and you can watch both the workprint and a “reimagined” version with the outtakes removed at the National Film Preservation Foundation website. An HD version of both are available through the subscription streaming service Fandor.
I wrote an essay on the film for Keyframe: “This would all be interesting but academic if it wasn’t also entertaining and Too Much Johnson is a hoot. The prologue was designed to open the play, introduce the characters and situations, and set the racing pace for the stage scenes with a wild slapstick chase through the streets of New York to the ship that carries the story to Cuba. It plays just fine on its own (with an assist from intertitles added by NFPF), like an open-ended Mack Sennett farce that races through German Expressionism and Russian Formalism on the way to the docks. The subsequent sequences, both much shorter and apparently incomplete, are not as self-contained or coherent but they do feature some eye-opening moments for Welles fans.”
The third wave of Amazon Prime Instant Video Pilot Season shows will be available to sample on Thursday, August 28. As in previous waves, Amazon has made the pilot episodes of five new shows available to all Amazon customers (you don’t have to be a Prime member to watch them), and they will decide which shows move forward to full series based on audience feedback.
This time through, they have enlisted some interesting directors to create for the small screen. Whit Stillman heads to Paris for The Cosmopolitans, a continental romantic comedy, David Gordon Green (director of Pineapple Express and HBO’s Eastbound and Down) stays home in New Jersey for Red Oaks, a coming-of-age comedy set in 1985 (it’s produced by Steven Soderbergh), and Jay Chandrasekhar offers the sitcom Really, about a tight-knit group of married couples in Chicago. Each of these are in the half-hour format.
There are also two hour-long shows: Marc Forster (World War Z) takes the helm on Hand of God, starring Ron Perlman as a judge of dubious morals who goes vigilante after receiving messages from God, and writer / producer Shaun Cassidy delivers Hysteria, with Mena Suvari as a neurologist faced with virtual virus spread through social media.
Ladies and gentlemen, presenting the slapstick stylings of Orson Welles, the boy wonder of Broadway!
Not exactly how we think of Welles, is it? We know he had a rich career both on radio and on the New York stage before he made Citizen Kane, but the few comedies he made were far outnumbered by the dramas and the thrillers and the literary adaptation. Yet after his first attention-getting success with Voodoo Macbeth for the WPA, Welles took a sharp turn to farce with his follow-up, Horse Eats Hat, which also had the honor of presenting Joseph Cotten in his first starring role.
There is no film record of Horse Eats Hat or any of his stage comedies and, though he had developed a few proposals for screen comedies, no producer ever took him up on them. So apart from a few cheeky supporting roles, a couple of TV appearances and fragments from unfinished projects, the record shows Orson Welles as a grand artist of serious subjects and baroque tastes.
That alone is reason enough to hail the discovery, restoration and presentation of the long-thought-lost Too Much Johnson, a tribute to the silent slapstick shorts of Mack Sennett, Charlie Chaplin and Harold Lloyd. It is an unfinished project in its own right but is nonetheless complete enough in this “The Films Reimagined” form to reveal a side of Welles so rarely exhibited to the public. That it was made three years before Citizen Kane makes it an invaluable find, a glimpse of the artist exploring the new medium of film with a natural affinity for the possibilities inherent in cinema. But that’s a matter of historical scholarship. What matters to the rest of us is that Too Much Johnson is funny, clever, cheeky, inventive and genuinely accomplished, which makes it worth watching on its own modest yet playful merits.
Northwest Film Forum is about to showcase a new 4K restoration of Orson Welles’s Othello, one of the director’s greatest—and rarest—films. In anticipation of that, Parallax View presents a detailed program note written when Othello appeared in an autumn 1971 film series devoted to Welles on the University of Washington campus. The original text remains essentially unaltered, with references to earlier Welles films the series-goers would have seen and, at the outset, one they had not.
In anticipation of that May 2-8 engagement, Parallax View presents…
Welles’s last American film of the Forties was not a happy experience. He had once considered Macbeth for his cinematic debut, remarking in 1940 that “Macbeth and its gloomy moors might be grand” for the movies: “A perfect cross between Wuthering Heights and The Bride of Frankenstein.” But when he came to make the film some seven years later, he was to enjoy nothing like the production resources behind the Goldwyn–Wyler Wuthering Heights; and—save for isolated passages that fairly leap out of the body of the film—he seemed curiously paralyzed, his style grown monotonously murky and overbearingly static, as though he had yet to grasp the full implications of The Lady from Shanghai: little of Macbeth is on a par with its predecessors in the Welles canon or, for that matter, with the extravagant cinematic imagination of James Whale’s Bride of Frankenstein.
To be specific on production matters, Welles made Macbeth at Republic Studios, a company that specialized in westerns and action flicks. He had a slightly larger budget than he’d enjoyed on Kane, but his shooting schedule was staggering: a mere 21 days. With an awesome surge of creative energy and organizational genius, he came in on schedule, although he begged in vain for another two days in which to do some retakes. Not the least of the difficulties during shooting was that Welles had pre-recorded the soundtrack and asked the actors to synchronize their on-camera performances with their former readings (a method attempted on The Magnificent Ambersons but abandoned almost immediately). The technique wore heavily on the players and the sound of the dialogue displeased the producers and the first preview audiences: it was delivered with a heavy Scots burr. Actors were called back for re-dubbing some of it in clear English, some in purest American. Welles wasn’t around; he delivered his own new lines from London, and production assistants Richard Wilson and William Alland (Kane’s Thompson, also the Second Murderer here) coordinated the various tracks as best they could. The soundtrack of the present Macbeth includes material from all the endeavors, so that Duncan and (at first) Malcolm are still heard burring away. Small wonder that Welles forsook Hollywood following this experience and began filming on the Continent by hook or crook.