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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


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« #282 : March 14, 2019, 03:18:16 PM »

I just finished The Other Side of the Wind. It took several excruciating sessions to get through this piece of shit.

I guess those people who consider Welles to be a genius whose every word contains hidden gems of mysticism we mere mortals cannot understand, and who are fascinated with his life and the autobiographical aspects of the movie, either truly love it or focre themselves to. I couldn't stand it.

The only good thing I can say about this is a hilarious Edmond O'Brien.


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« #283 : March 17, 2019, 05:18:40 AM »

I just finished The Other Side of the Wind. It took several excruciating sessions to get through this piece of shit.

I guess those people who consider Welles to be a genius whose every word contains hidden gems of mysticism we mere mortals cannot understand, and who are fascinated with his life and the autobiographical aspects of the movie, either truly love it or focre themselves to. I couldn't stand it.

The only good thing I can say about this is a hilarious Edmond O'Brien.

I don’t think anybody actually loves it. Everybody finds it excruciating. Yet, there are plenty of good to great things in it by one of the most talented filmmakers ever (that title, in 2019, isn’t an opinion anymore, it’s a fact).

Like it’s often the case, I find it also easier to spot why a guy is a genius and how he achieved genius results by watching his failed attempts. Because the craft is more visible. The lack of polish makes the essence of his work more discernable. That being said I yet have to find the courage to watch the final hour.

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« #284 : March 17, 2019, 11:52:32 PM »

I don’t think anybody actually loves it. Everybody finds it excruciating. Yet, there are plenty of good to great things in it by one of the most talented filmmakers ever (that title, in 2019, isn’t an opinion anymore, it’s a fact).

Like it’s often the case, I find it also easier to spot why a guy is a genius and how he achieved genius results by watching his failed attempts. Because the craft is more visible. The lack of polish makes the essence of his work more discernable. That being said I yet have to find the courage to watch the final hour.

I don't give a damn how "talented" a filmmaker is, or how much of a "genius" he is. I like to watch good movies and I hate to watch bad movies. And most of what Welles made was shit or average. I don't care how much he coulda woulda shoulda done. I care about how much pleasure, as a movie fan, he gives me. And Welles didn't give me much pleasure beyond Citizen Kane.

(Note: This post is referring to his directed movies. As an actor, he did have some very good performances in other filmmakers' movies.)

I haven't seen his Shakespeare films. But I have seen The Magnificent Ambersons, and I think it is crap. Not a masterpiece screwed up by the studio, but a movie that is crap and never had any potential to be anything other than crap. The Lady from Shanghai is excruciating. Yeah yeah, I know all about the famous ending in the house of mirrors. Whoopdy do. The rest of the movie is crap.

The Stranger is decent, as is F for Fake. The Immortal Story is not good. Touch of Evil is crap besides the first scene and last scene. Mr. Arkadin is excruciating. Am I supposed to enjoy an awful movie just because Welles was such a genius that he knew how to turn a camera diagonally when the mere mortal filmmakers were holding it straight?  ::)

Maybe Welles had more talent and genius than every other filmmaker who ever lived. Heck, maybe so do I. But I haven't made shit, so I'm no benefit to cinema. Name me Welles and 99 other filmmakers who ever lived, and odds are I'll tell you the other 99 gave me more pleasure than Welles did. Which means they have more value to me as a filmmaker than Welles did.

Movies are about both art and entertainment. We can have endless debates about whether the two are mutually exclusive or identical or the relative importance of each and how much they are intertwined, etc. But without entertainment, a film/filmmaker has no value. And for me, Welles produced minimal entertainment.

---

The way people talk about Welles reminds me of Mickey Mantle. Mantle was a very famous baseball player from the 1950's and 1960's. He suffered numerous devastating injuries, so he missed lots of games, and the games in which he did play, he was often hurt. BY the end of his career, it was sad to watch him, he could barely move due to his injuries. So a big part of the Mickey Mantle Story is what could have been.

But injuries or not, Mantle indeed was one of the greatest baseball players ever! (I won't go into the statistics cuz you Europeans don't know or care about that stuff, but) the fact is that he indeed was one of the all-time greats. Without the injuries, he could have been even better! Maybe without the injuries he could have been one of the 5 greatest players ever - but even with the injuries he was one of the 10 or 20 greatest ever. So it's ok to talk about what "could have been." Because his output indeed was great.

But Welles's output was crap. When a guy had great output, you can talk about how much greater he could have been. But when a guy's output was shit, I'm sick and tired of hearing about him. Talent and genius and potential don't mean jack. Output is what matters. And any filmmaker who made more than one great movie already has a better output than Welles.
--

I enjoyed Netflix's documentary about the making of The Other Side of the Wind (it's called They'll Love Me When I'm Dead) far more than I enjoyed The Other Side of the Wind.

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