Tag: Orson Welles

Challenge Week 16: The Trial

I read Kafka’s The Trial back in high school or college for fun, because that’s the kind of kid I was, and I really loved it – but that was let’s say several years ago and aside from the premise and general nightmarish inexorability of it, I didn’t remember a whole lot of actual details about it going into the film. That may have been unfortunate, since I did find it difficult to follow in some parts (I’ll admit to a little drowsiness, too), but in a way, it kind of weirdly enhanced the experience, since the whole point is Josef K is stuck in this labyrinthine and inescapable legal system, on trial for charges that are never stated. He can’t figure out what’s going on with him, so some confusion on my part felt fitting.

I wasn’t wholly on board with Anthony Perkins’ performance, especially in the beginning – what was he so nervous about? He had me feeling like he must be guilty of SOMETHING. Later he often strikes an odd note between exasperated and bored. I also wanted to see more Jeanne Moreau, but I was happy when Romy Schneider popped up. I’ve only seen her in a couple of other things, but I like her a lot. And of course, Welles as the The Advocate Hastler is unparalleled, a sort of older, fatter Harry Lime; less boyish but equally devoted to manipulating to the system to his own benefit.

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TCM Film Fest 2015: Chimes at Midnight

Orson Welles’ career is the stuff of legend – wunderkind Hollywood golden boy with Citizen Kane, then losing most of his subsequent films to studio interference, and eventually finding it impossible to raise enough money to even complete the films he wanted to make. By 1965 when he made Chimes at Midnight, the funding came from Spain and Switzerland, and the film barely got a release in the US. Even before becoming a big shot Hollywood actor/writer/director, Welles was already a noted Shakespearean scholar and actor, and in the late 1940s, his film output shifted to Shakespeare as well, with versions of Macbeth and Othello. He’d long intended to do a Falstaff story, combining the five plays featuring the characters – a stage version called Five Kings hadn’t quite gotten off the ground as early as 1939, then he staged it in 1960, when it was also unsuccessful. Undaunted, he focused on a film version, which became Chimes at Midnight (sometimes known as just Falstaff). Unlike many of his projects during his later career, Chimes at Midnight was finished, and finished pretty much according to Welles’ wishes.

Upon initial release, the film was dismissed by critics, but it has since gained a reputation as one of Welles’ greatest films – Welles himself felt it was his best work. Rights issues have plagued the film, however, and it’s been very difficult to see in any kind of decent quality (it is watchable on YouTube). Rumor has it that the print screened at TCM Fest (courtesy of Filmoteca España) will soon make its way to DVD/Blu-ray, which would be great. As of now, though, the people who saw it at TCM Fest have probably seen the best version of it since its original release.

2014 TCM Film Festival: Touch of Evil

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I knew this TCM Film Festival was going to be a brief one for me, as having a one-year-old daughter lessens ones flexibility considerably, even with a very considerate husband. My major goal was to find one thing that he and I could go to together since he was going to spend a lot of the rest of the time alone with our daughter while I galavanted off to watch movies. As soon as I looked at the schedule, it was clear which film that would be. We both name Touch of Evil as likely our favorite Orson Welles film (yes, over Citizen Kane), and have done so long before we even knew each other. The chance to see it at the TCL Chinese (no, I’m still not used to calling it that) in the version cut according to Orson Welles’ notes – it was just meant to be.

Going to a movie at the TCM Film Festival when one of you has a pass and the other is depending on the standby line is something of a stressful situation, but thankfully we got there early and he got in fine. It was the first time I had been in the Chinese theatre since TCL bought and remodeled it, and I’m a bit ambivalent on the new look. The decor is as resplendent as ever, but it’s all stadium seating now, which results in some 230 fewer seats (though 900 seats is still a lot) and generally makes it feel much less communal than it did before. It’s still a great way to see a movie, but it didn’t feel as much like a classic movie palace experience. But I’m being nostalgic for a time I never knew.

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