[tps_header]In honor of Orson Welles’ 100 Birthday, the TYF staff takes a look back at some of Welles’ greatest works and performances.[/tps_header]
F for Fake
By: Ryan Gibbs
F for Fake is not quite a documentary. It blends two narratives together with a series of vignittes and Welles’ thoughts on the concepts of hoaxes and authenticity. Welles made this film in conjunction with French director François Reichenbach, who had began shooting a film about art forger Elmyr de Hory and the pair collaborated on a new film that now included Clifford Irving, who wrote a book about de Hory and shortly thereafter would become infamous for writing a hoax autobiography of Howard Hughes.
The film is unlike anything in Welles’ filmography, and its experimental style may even throw off documentary fans. Yet, the film is endearingly unique and is one of Welles’ greatest achievements as a filmmaker. It proved that even at the end of his career, he was willing to test what a film could be, how it could be sequenced and what it could it do as a narrative artform.
Unfortunately, F for Fake wound up as Welles’ final major film as a director. Through the rest of the 70s and 80s he continued to be in demand as a character actor and commercial spokesperson, but many of his subsequent ideas such as “The Other Side of the Wind” and “The Dreamers” were unfortunately never completed. And so, F for Fake also stands as the last word on Welles as a groundbreaking, risk-taking filmmaker. Critics didn’t quite know what to make of it at the time of its release, and it was a point of contention and argument for years on whether it was brilliant or pretentious. Some of that argument continues today, but the general consensus has ultimately come to the film’s favor. It’s an unexpectedly unique end to Welles career.
By: Paul Gilbert
Advertisement
It was supposed to be his big Hollywood comeback. During the editing of the film, Orson disappeared, and the execs took over the editing; which resulted in the famous 58 page memo from Welles on what was wrong with the final version. Nevertheless, Touch of Evil was and continues to be a frightening look at the most corrosive side of humanity. Welles gives his most humanizing role as Hank Quinlan, the corrupt detective of a small border town. Like all the best villains you feel sorry for the bastard. Janet Leigh is stuck in a creepy motel, one of many in her career. Charlton Heston is a Mexican. Let that sink in. It’s a visual tour de force, with long unbroken one-take shots and close ups using wide angle lenses that let you peer into the character’s thoughts and souls. Thankfully you can buy the DVD or Blu-ray of Touch of Evil with all three versions of the film, including the reconstructed version that applies all of Welles changes outlined in the memo.
The Magnificent Ambersons
By: Paul Gilbert
Advertisement
It could have been better than Citizen Kane. The Magnificent Ambersons is the masterpiece that never was. The only version that exists is not one that Orson Welles endorsed. During the editing of the film, Welles left for Mexico on a goodwill mission. Editor Robert Wise sporadically contacted Welles about the editing of his second feature film. It took too long and finally the film was at the whim of the studio execs. They re-edited the film and a more upbeat ending. The director was warned, but never came back. The final result shows that Citizen Kane was no fluke and that Welles understood the medium and was willing to push it further.
Citizen Kane
By: Jon Espino
Advertisement
Hailed as one of the greatest films of all time, Orson Welles created and starred in this masterpiece. Anyone can appreciate the production values and storytelling of this film, but what has made it pass the test of time is its continued relevance. In a time where news is still sensationalized and scandalized, we see many Kane’s emerge. This film is one of Welles most prominent films, and widely considered his magnum opus, but it also marked the decline of his affluence. The film turned from being loosely based on media tycoon Hearst, to foretelling the fate of Welles himself. There might be multiple interpretation for the meaning of “Rosebud” (aside from the most obvious), but what there is no doubt in is how this pinnacle of silver screen cinema set a new standard for all future films.
War of the Worlds radio broadcast
By: Jon Espino
Storytelling always has a powerful way of making us believe just about anything. It can entertain, inform and even move us to action. The person telling the story also has a big part to play, because the delivery of the story is as important as the story itself. In 1938, Welles put on a radio broadcast of the popular sci-fi novel “The War of the Worlds” by HG Wells, and then mayhem ensued. At the time, the most used resource to announce breaking news were newspapers and radio. So people just tuning in to that station after the broadcast has began found themselves confused and panicking at the idea of an alien attack. Welles has always had a great eye (in this case ear) for detail in weaving stories, so when he decided to present the popular story as a series of news reports and interviews, it was both effective and impactful. Anyone who can inspire several people to believe a science fiction story deserves your respect, even if people did end up upset with him afterwards.
Listen to the original broadcast:
Advertisement