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: Orson Welles  ( 61143 )
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« #270 : August 30, 2018, 04:04:33 AM »

can't wait.


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« #271 : August 30, 2018, 10:10:55 AM »

"Select Theaters" on Nov. 2 (or on Netflix). I'm guessing there will be NYC and LA showings. Anywhere else?



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« #272 : August 30, 2018, 06:38:16 PM »

http://www.wellesnet.com/other-side-wind-premiere-review/



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« #273 : September 05, 2018, 01:53:29 PM »

http://www.davidbordwell.net/blog/2018/09/04/venice-2018-welles-and-the-other-side-of-the-wind/

The Other Side of the Windbag--HA!



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« #274 : September 06, 2018, 03:35:17 AM »

Thanks for that, ;-)


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« #275 : October 09, 2018, 04:56:27 PM »

Outside of theatrical exhibitions, the best the film has ever looked: http://www.dvdbeaver.com/film5/blu-ray_reviews_70/the_magnificent_ambersons_blu-ray.htm



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« #276 : October 10, 2018, 05:34:47 AM »

Really excited to rewatch Criterion's version of this. I've only seen it once, many many years ago, on VHS. I may buy a nice Criterion-Welles Bundle with Othello, F For Fake, Chimes at Midnight, and Immortal Story....good use of B&N Sale in November.

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« #277 : November 10, 2018, 02:46:37 PM »

The Other Side Of The Wind

First Impressions

W*T*F*?, Cool, John Huston, some Film Noir actors Edmund O'Brien, Paul Stewart, Mercedes McCambridge, Cameron Mitchell, nekkid women, Ojar Kodar, home movies, W*T*F*?, improvisation, experimental, flowing into semi-documentary, reminissings by family members, Gary Graver cinematographer, assessment of Welles work, an insight into how he worked and his creative style, his eternal problems with creative control and financing, it's all in the editing, his loss of the footage from The Other Side Of The Wind from repercussions from the Iranian Revolution, Welles having to resort to acting in various projects for money, Welles mooching off Peter Bogdanovich for two years, his last interviews, his biggest curse was the success of Citizen Kane at 25 years old. Like one big free for all fun wild party celebrating Welles.

Interesting enough that I'd watch it again.     


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« #278 : November 11, 2018, 11:30:12 AM »

I thought it was a very interesting art film, and an amazing watch as a big-to-huge Welles fan, but it's also very challenging and oftentimes not comprehensible. There might be more cuts in this than any other movie. By the end, I was exhausted. Part of me wants to watch again for a better understanding, but another part of me would rather just rewatch the tamer but somewhat similar F For Fake.

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« #279 : November 21, 2018, 08:05:46 AM »

There might be more cuts in this than any other movie. By the end, I was exhausted.

Yeh - even just focusing on the famous scene when John Huston makes his entrance that we know Welles had already (had) edited (i.e. was not done by Murawski later who incidentally did a great job overall trying to retain Welles' supposed desired approach), the editing really did stand out for a non-action scene of that nature. Had I been watching back when it was edited I would undoubtedly have been really impressed even if it did not perhaps always have the fluidity of some of the best editing being done around that time by the likes of Dede Allen or her followers or those working under the directorial auspices of Sam Peckinpah. The problem however is that from today's perspective it reminded me of how such brilliant editing back then has devolved into the ultra-fast jump cuts we often find in shoddy action scenes nowadays as if just by fast cutting something should be exciting. As such I think the impact was unfortunately unfairly dampened on me, but nonetheless the fact that it occurred in a "non-action" scene still really made an impression and was very different.

In Murawski's words: "I wanted to really try to understand his style and what he was going for in that period of his career. He wasn’t editing for the sake of editing. He was trying to create movement that he could no longer create with the camera because he didn’t have access to Gregg Tolland and those incredible professional crews of technicians and crane shots. He had to figure out a new way to create that feeling of movement."

As for the film itself, it was indeed weird and I personally found all the softcore porn elements (sorry, I mean "art house") to be unnecessary. It was of course hugely bipgraphical even down to the mentioning of the altercation with Hemingway. I should probably re-watch it before writiing anything else.

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« #280 : January 26, 2019, 02:56:09 PM »

An amazing webpage: http://www.themagnificentambersons.com/



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« #281 : January 26, 2019, 03:24:47 PM »

Thanks


"When you feel that rope tighten on your neck you can feel the devil bite your ass"!
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