Here it is, the second volume of Simon Callow's biography of Welles. I've only just begun it so I really shouldn't be writing about it so soon. I just can't help it, there's so many interesting things in it. Please forgive my writing and probable typos. I have to write this fast with no time to edit.
Here's an example (above) of the kind of narrative prose Welles liked to write. I knew I'd seen the style before but I couldn't place it until now: it's from Psalm 23 in the King James Bible. In that Psalm each line is split in two: " The Lord is my shepherd / I shall not want. " It's the only poetry in the English language that might surpass Shakespeare, in fact some say that Shakespeare wrote it. Almost every line is two or three simple thoughts jammed together with a natural pause between each thought...it's a very powerfull type of prose. Very noble, very musical.Shakespeare used it in the beginning of "Romeo and Juliette:" "Two houses / both alike in dignity /in fair Verona /where we lay our scene (maybe I've quoted wrong, I don't have it infront of me)." That's the way Welles wrote about the little boy and his bull: "The boy's name was Chico / and the bull's name was Bonito." Joe Fante, a heavyweight writer himself, is credited with writing the narration but you know that Welles wrote it. All his narratives sound like that. It's a beautiful way to write.
I've only read a dozen pages or so. When I put it down Callow was relating the story of how Welles rehearsed the actors in "Magnificent Ambersons." He recorded the rehearsel on records then played the best parts back when it was time to film it. Welles thought actors always spoke their lines too slow infront of the camera and he wanted to remind them how good it sounded when they spoke fast in rehearsel. Callow thought it had the unexpected effect of making the scenes feel awkward because the actors couldn't find the natural rythym of the present, infront of the camera.
Welles put a lot of emphasis on the reading that was done in rehearsel. I'm proud of myself because I deduced this before I ever read it, in fact I did a blog entry about it. You can hear it in the way he delivered his lines in " Jane Eyre." The lines sound like they're being read! You might think that would be a liability but it wasn't. It sounded great that way! I read ahead in the Jane Eyre sequence and discovered that he walked on the set and started directing from a podium just like a conducter, even though he was only hired to act.
16 comments:
Orsen Wells is always amazing.
Eddie, check out my blog teaser your in it with a super model!
Orson Welles once said that Bible and collected works of Shakespeare are the only two books he would carry to the desert island. You noticed these influences correctly, and they're very evident in his screenplays and numerous essays. Some find Welles's writing style too ponderous and heavy-handed, but I enjoy it very much.
I plan to get the second volume of Callow's biography soon. First one was heavily criticised by many Welles fans, because Callow displayed quite open disdain for his subject, although the book was meticulously researched and contains some invaluable info about Welles' early career on radio and theatre. This new volume received lot of praise and seems to be much more balanced effort.
Welles did very extensive rehearsals for Ambersons, weeks before the actual shooting began. That's very much a reflection of his experience in theatre. In fact, I think that his visual illusionism and initial moviemaking approach were more influenced by theatre than cinema, and yet his style looks extremely cinematic. His later independent productions show a different, more improvisational and spontaneous approach to acting and moviemaking.
And the whole story about the making and dismantling of "The Magnificent Ambersons" is incredibly tragic. What we have now is indeed magnificent, but also a pale shadow of the film that once existed. The shooting script and cutting continuity script are the only evidence that remains now. Did you know there are several enthusiasts who made their own reconstructions of the film, using the scripts, Bernard Herrmann's complete soundtrack CD and many surviving photographs from the deleted scenes, mixed together with the scenes from released version, edited in correct order. I saw several months ago a fascinating reconstruction done by an Australian guy, and it is my preferred way to watch this film now.
Regarding Jane Eyre... yes, I would consider it as a film unofficially directed by Welles, despite his denials. Though the novel doesn't contain many of his favorite motifs and themes, his visual style is clearly there in every part of the film. It's unbelievable that it haven't been yet released on DVD.
I don't think there's been the bio of Welles yet; although I adore Callow as an actor, and he's supremely intelligent, I wasn't bowled over by vol. 1.
Have you read "Put Money In Thy Purse", my Micheal Macliammor(horrid misspelling no doubt)? It's mostly about the intermittent filming of "Othello", and it's a great look at Welles. But he's such a (forgive me) huge subject, incredible man.
Hammerson - where did you see that reconstructed version of The Magnificent Ambersons?
I've seen other "reconstructed" lost films - Greed, Metropolis, Napoleon, London After Midnight, Hard Luck (Keaton) - and they're always invaluable learning experiences. They're like windows into a film makers creative process - and I can't think of a better subject for that kind of analysis than Welles.
Is the film available for viewing? Also, do you know if a reconstructed version of Don Quixote exists anywhere?
I don't know what Welles' official position was about who really directed "The Third Man", which he stars in, but the film looks a hell of a lot closer to an Orson Welles-directed picture than it does a Carol Reed one. Then again Steven Spielberg still insists that, for the record, Tobe Hooper directed "Poltergeist", too.
Mike, I got a copy through trading with another member of Wellesnet forum. Many people there are exchanging rare and unreleased Welles material. I think that the author of reconstruction mentioned it's OK to pass it among the people (I must confirm that), so if you're interested in a copy, contact me with the e-mail that is available on my profile.
This reconstruction was also shown last year at Locarno film festival. It is not official, thus at the moment not supported by WB (the current owners of the film). Perhaps there would be somebody wise enough at Warner to collaborate and open the vault for any further material. It would make a fantastic supplement on some future DVD release.
Regarding Don Quixote... a reconstruction attempt has been made in 1992. by Jesus Franco (the notorious Euro-trash director and Orson's assistant on "Chimes at Midnight"). Despite the contrary claims, this reconstruction used the material that was discarded by Welles, and the result is a real mess, though it has some interesting moments. The best Quixote material is in possession of film editor Mauro Bonnani who claims to have the complete 90-minute version edited by Welles and him. With the exception of 5-minute scene shown on Italian TV last year, none of Bonnani's material is available in public, and there's a very complicated situation and mystery that surrounds it. I will find later a link to the Wellesnet discussion about Don Quixote that will explain lot of things.
Haven't read the bios but my favorite story about Welles is his Pan-American project. I once saw a PBS documentary about it. The man was not afraid to party! Let's give him his props. This book coming out about it looks good.
I'll probably snag this volume when it shows up at the Strand Bookstore, but in looking up Welles' guest-host gig for Jack Benny, which Callow I think accurately criticizes, Callow manages to totally muff the famous "I'm thinking it over!" line, possibly the best-remembered line from Benny's OTR days. How, I can't imagine.
Welles played the same character on most of his OTR appearences that I have (one from Charlie McCarthy in 1944, the guest star/guest host appearences on Jack Benny), but his role as a Barrymoore-like ham on "The Dark Tower" from "Suspense" is well worth finding.
Hammerson: Fascinating! I hope Maike ends up with a copy of the Australian cut because then I can invite myself to Mike's place and watch it. I'll look up the Don Quixote.
Eric, Jenny: Agreed, the first nook had many faults but was by far the best of the biographies that I know about.
Freckled: Holy Cow! You're right! It's me oogling a supermodel! Unfortunately the picture was taken with a lying camera lens that made me look fat! Do you mind if I use that picture?
Eric: The Dark Tower? Thanks!
Freckled: I just checked out the rest of your blog! Thanks for posting all the Cabral! That guy is amazing!
I hate those trick cameras.
Sure go for it, you can use anything you want off my blog.
Make sure to check out the 3 part spumco post tomorrow. I"m going to show some of the really funny merchandise including the whole comic book that article came from.
If you have any funny stories from when the products were conceived you should post them!
Thanks I love him too. I don't know why he doesn't receive more acclaim especially in animation circles.
I'm still reading another Welles Bio that was released last year, one that I thought This Book Uncle Eddie just mentioned may have been the sequel to. (But it isn't).
If you have had a chance to go through the extra material in Criterions F is for Fake, I wonder what exactly what Welles was thinking when he was cribbing time to recite Moby Dick into a camera.
Here's the promised link to the most recent Wellesnet discussion about Don Quixote
Hammerson: Thanks for the link to Quixote. I'm not a fan of that novel but I would love to see what Welles did with it.
There's a pretty spiffy book about Welles by Clinton Heylin, but it's pretty short.
This is an excellent book, really well researched, and perhaps more suited for hard-core Welles fans than beginners. It contains fascinating and very detailled info about the lost original versions of all Welles films that were edited or mutilated by Hollywood studios.
Among other books, I can recommend "This is Orson Welles" (perhaps closest thing to the real O.W. autobiography), and "Magic World of Orson Welles" by James Naremore (contains superb analysis of all major Welles films).
There is always the peter bogdonavich book on Welles (or the audio book, which is the actual interview tapes)
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