Encyclopedia of Orson Welles (Great Filmmakers)
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"Citizen Kane" is often considered the greatest masterpiece of the cinema, hailed for its story, dramatic technique, and filmmaking innovations. The film should have launched its director, Orson Welles, to superstar heights, instead, this singular filmmaker spent his career facing constant financial and organizational struggles. Yet despite these obstacles, Welles managed to produce two other successful films - "The Magnificent Ambersons" and "Touch of Evil". This encyclopaedia follows Welles' career from his early days as a radio performer with "Mercury Theater on the Air" to his rise and prolonged decline in Hollywood. More than 300 entries cover all aspects of Welles' life and career, including all of his film projects - even those never realized - major performers in his films; key crew members; sources of inspiration; music and composers; and television, stage, and radio appearances.
at Joe Cotten and me if we didn’t join him in a big breakfast after working all night. He would work 36 hours at a time, sleeping only for a few hours at a time. He was hyperactive. People don’t realize now what a horrible time he had with the makeup, too, especially with the contact lenses. He’d have to be in makeup at 4:30 in the morning. Orson and I had a very, very special relationship. It was not physical, except for a very short period of time (and that was not the most important part of
This internationally co-produced war film was situated in 1943 Yugoslavia, where a group of Yugoslav partisans ward off German and Italian incursions. Along with WELLES, the heroic tale of resistance during World War II featured Yul Brynner, Curt Jurgens, Sylva Koscina, Hardy Krüger, and Franco Nero. Although The Battle of Neretva did not travel well in terms of attracting a broad international audience, the CinemaScope feature did garner an Oscar nomination in the category of Best Foreign Film.
with The Merchant of Venice, Welles selected his compilation of the so-called Henriad, Chimes at Midnight. After five performances in Belfast, Northern Ireland, the play was moved to the Dublin Gaiety Theatre. Originally the play was slated for London’s West End, but it closed in Dublin before getting there. Since the 1920s Edwards directed over 300 plays at the Gate Theatre and at the Gaiety Theatre in Dublin. From 1961 to 1963, Edwards served as head of Irish Television. director Hilton
board for Ellington’s fertile writing and arranging imagination. From the “jungle style” of the Cotton Club revues of the early 1930s to his sacred works of the 1970s, Ellington covered a gamut of styles with an élan that earned him a reputation as the most important composer in jazz. Gaining national-international recognition during the heyday of the 1930s’ Big Band Era, the Duke Ellington Orchestra made numerous appearances in band shorts, jazz documentaries, and Hollywood feature films. Among
experts,Welles says, there would be no fakers. Indeed, for Welles, the reification of the artist’s name has more to do with enhancing the market value of the art work than with its intrinsic aesthetic worth. Suddenly, the film shifts gears. In place of the loosely based documentary approach focused on the three “fakers” and their ruminations about art and illusion, Welles cuts to a story about OJA KODAR, Welles’s companion and collaborator from 1962 until his death in 1985. Addressing the