Orson Welles Tagged Articles at Cinematical

This week Richard Linklater's Me and Orson Welles is finally making its way to the big screen. It's not a big buzzed-about film, but it is, indeed, one worthy of your time. The movie offers a peek at Efron's possible future (which the abysmal 17 Again completely failed to do), a delightful look into creating art in the '30s, and it recreates the nuances of theater on the big screen. And hey, it's a Linklater film, which seems to be painfully rare these days.

But none of those reasons are why I urge you to see it. It all rests on the shoulders of actor Christian McKay, who plays Orson Welles. I missed the film at TIFF, and spent the next year listening to raves over McKay's performance before I finally got the chance to make it to a screening. Even with the rave reviews and raised expectations, it was quite easy to get mesmerized by McKay, who not only bears an uncanny resemblance to the iconic actor and filmmaker, but also adeptly embodies the man's larger-than-life ways.

To get the full experience, you must be familiar with Welles, and if you're not, well, good lord, now's the time to change that. What follows are some of Welles' essential work, as well as glimpses into the man's real life so you can see just how good McKay's performance is.

One of the great fallacies of film history is that Orson Welles made his directorial debut at age 25 and then burned out and never made anything else of note. And it's true that he spent a lot of time doing acting jobs for money and starting projects that he never finished. But in reality, he directed, completed and released thirteen films between 1941 and 1976 -- including that debut, Citizen Kane -- and every single one of them is notable. Some are masterpieces, some are ahead of their time, and some, like Mr. Arkadin (1955), require a little work. Mr. Arkadin was only one of two original screenplays in Welles filmography (along with Citizen Kane), and they have many things in common: a flashback structure and a secondary character snooping around in the life of the title character. (A book was published with Orson Welles listed as the author, but Welles insisted that he wrote the screenplay himself and the book was ghost-written by someone else after the fact.)

Reading about movies, you hear stories of some films shot in five days and other films shot over three years. Some of the poverty-row directors and B-movie makers cranked out as many movies as they could during a calendar year, while filmmakers like Charlie Chaplin and Stanley Kubrick waited years between projects (making each release a new "event"). Most filmmakers, I think, given the chance would probably release one film per year, keeping their toes in without burning out. But sometimes, whether it's a trick of the calendar, or some peculiar rhythms of timing, some of the greatest directors manage to release two films per year. And even less often, both of these films turn out great. The following is my not-exactly-extensive, but enthusiastic celebration of the one-two punch or the director's double-whammy.

1. Jacques Tourneur: I Walked with a Zombie and The Leopard Man (1943)
The world has frankly been a better place to live since Warner Home Video released the five-disc, nine-film DVD "Val Lewton Horror Collection" box set in 2005. I have often promised myself that, if ever en route to a desert island, it would be the first thing I'd grab (provided that said island came with its own entertainment system). Four directors worked on those nine great horror films (counting poor Gunther von Fritsch, a footnote in film history for being too slow, getting fired from The Curse of the Cat People, and thus launching Robert Wise's career). But Jacques Tourneur -- son of silent era filmmaker Maurice Tourneur -- is undoubtedly the most talented of the group. He started the cycle with the extraordinary Cat People in 1942, and followed it with this one-two punch in April and May of the following year. Sure, they're cheap, quickly-made B-movies, but few films have ever been made -- in any genre, for any price -- with so much textured atmosphere and such a resounding sense of dreamy dread.

Everybody loves a bad guy. They usually get the best lines, a great entrance, and a hell of a death scene. But our love affair with the dark side is no secret, and as much as we might love the bad boys, we all enjoy a good 'comeuppance', which is usually where our heroes come in. Hell, probably one of the biggest reasons most of us love the world of make-believe is that at least there, the good guys can win. Occasionally, though, you find a villain with qualities that go a little beyond being the 'man/woman you love to hate', and before you know it, that monster has managed to win you over before the credits have rolled -- which isn't always good news for our heroes.

Now this doesn't mean that I think these villains are model citizens, because well, I'm not that psycho. But when these guys are on screen, suddenly the 'hero' of the piece starts to fade away, and when your audience is bummed when the bad guy goes down, you know that you've created a villain who is just too damn charismatic for their own good. These characters can pop up in anything from a comic book flick to a period drama, but the one thing they have in common is their ability to make you think, "Hey, he's nuts, but he might have a point". So that's why for today's installment of our monthly tribute to villains, I've put together a list of my top 5 movie villains with charm to spare.

After the jump; my top five movie villains that will win you over in the end...

You can't turn around in a movie without bumping into a professor. If it's not Nicolas Cage as the unlikeliest astrophysicist to be granted tenure at M.I.T. in Knowing, just released on DVD, it's the passel of professors that will undoubtedly be presented in Harry Potter and the Half-Blood Prince, due out in theaters next Wednesday. Which kind of professor do you prefer?

My early impressions were formed by seeing the distinguished, imposing Harvard law professor John Houseman dress down Timothy Bottoms in James Bridges' The Paper Chase: "Here is a dime. Take it, call your mother, and tell her there is serious doubt about you ever becoming a lawyer." My impressions changed dramatically when I saw Raiders of the Lost Ark. Harrison Ford as Indiana Jones may have been more of a thrill-seeker than an academic, but he was driven by his love for archeology -- and a desire to share his knowledge with his students, no matter how distracted they were by his dreamy looks.

Movies have produced so many memorable professors that it's hard to narrow down the list, but here are my other favorites, and why:

• Gary Cooper, Ball of Fire (Good-hearted and modest).
• Orson Welles, The Stranger (Cold-hearted and scary; an alluring phony).
• Jerry Lewis, The Nutty Professor (Makes you feel better about yourself).
• Peter O'Toole, Creator (Zestful and enthusiastic; encourages free thinking).
• Robin Williams, Dead Poets Society (Funny, if a bit too manic and pushy).
• Michael Douglas, Wonder Boys (Wounded, but can still teach life lessons).

Who are your favorite movie professors?

At any large film festival, it's easy to get caught up in the buzz and the biz of it - most of the time, the press screenings are really press and industry screenings, which means that the person sitting next to you is not some fellow ink-stained wretch who will watch the film and have to write a review but, rather, an acquisitions person who will watch the film and, perhaps, write a check. This doesn't just lead to seat-hopping and movie-jumping as the acquisitions people shrug No, not for us and leave so they can continue their quest; it also leads to getting caught up in an atmosphere where questions of commerce can come more readily to mind than questions of art.

So it was with the Toronto screening of Me and Orson Welles, where my feeling warmed and charmed by Richard Linklater's recreation of 1930's literary New York came on the heels of a much more pointed question -- namely, who the hell is going to see it? Starring Zac Efron as a young would-be actor who's recruited for a bit part in Orson Welles' 1937 Mercury Theater production of Julius Caesar, the film skews young in energy and execution, but unless teens are lured into caring about old-timey theater by Efron's name, it's unlikely they'll go; older audience members, who have the advantage of actually knowing, and caring, who Orson Welles is might be put off by the presence of Mr. Efron, who they know solely from their childrens' repeated viewing of High School Musical.

I've lost count of how many times these movies have been released on DVD, but (wow) I don't own any of 'em yet, so here's a perfect excuse. DVDActive has the (very thorough) information on Universal's upcoming "Legacy Series" editions of (ready?) Alfred Hitchcock's Rear Window, Vertigo, and Psycho! Each package is a two-disc affair, complete with all sorts of goodies both old and new. (Yes, I love film historian audio commentaries. Sue me.)

Street date for all three releases is October 7, and if you'd like a complete listing of what each disc offers you can click one of these: Rear Window, Vertigo, Psycho. Also from Universal Home Video on October 7 ... it isn't Hitchcock, but it sure is awesome: Orson Welles' 1958 mega-classic Touch of Evil, which is a whole lot more than one impressive tracking shot, believe me. Like the Hitch titles, Touch will come complete with all sorts of new bells and whistles. Plus all four of the DVD covers are all sorts of retro-cool. Can't wait to dig through these discs.

What happens when men in blue, sworn to protect and to serve, fly out of control? If we're lucky, we get a good movie out of it. If we're really lucky, we get a larger than life character to cheer and to fear. Are you feeling lucky, punk?

Keanu Reaves, of all people, will follow in the steel-toed shoes of some of cinema's finest as a cop who goes on an avenging rampage in David Ayer's Street Kings, which opens tomorrow. That made me reflect on my favorite out of control cinematic cops, men in blue who break free from the laws of god and man. Let us know who we missed in the comments section. But be nice, or we'll track you down and crack you over the head with a night stick.

1. Clint Eastwood, Dirty Harry

Clint is so cool as Harry Callahan that he can just glare at bad guys and they give themselves up. Dirty Harry never met a criminal he couldn't beat up, a sergeant he couldn't hate, or a partner he couldn't get killed. He can't help it: he married justice a long time ago and the blind old bat won't leave him alone until he takes out the garbage. Don't even think about getting in his way: he solved the Zodiac killings in 102 minutes! Dirty Harry paved the way for several sequels and countless gruff, lone wolf outlaw police detectives.

Just recently, I was able to wrap up work early and head down to my local rep theater to check out A Touch of Evil on the big screen, crackling from grainy, old film. It was my first taste of Orson Welles in a theater, one that was filled with the wonder of that jaw-dropping opening shot (which you can check out after the jump), as well as the continual amusement that Charlton Heston was supposed to be Mexican.

Throughout the entire movie, my brain was trying to rationalize a different story that would fit in the framework of the story and not seem so ludicrous. Maybe he was born to white parents in Mexico? Maybe he moved there at a young age? Nah. To think it is all because Welles changed the script. Still, while the attempts to change his race might have failed, this Heston film is so very worth the time and effort.

Rest in peace, Charlton -- I hope you're having a dandy, gun-laden afterlife.

*Last Rewind Answer: Believe it or not, it was Mick Jagger who was once considered for the role of Fletch.