ORSON WELLES AND JOSEPH COTTEN SURVIVE 'THE THIRD MAN'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6oCNiwVUAf2-1HtIaI1ebf2ckaOjHaWyP8XeW26P9n2pfT7QMoO8QYxiHeyOXQSea2H4tEkRneaZPBEuFiAKKfWh53RkElWHKZNxxtNtDbtaxLP5OOMtGcWwhrbc00EQpKidd19NIXPHJmjg7or83upEnlgt6RzpdzualfWAPimaV5WSkrkX_ZrYdVaR1/s2094/Screen%20Shot%202026-05-02%20at%201.57.39%20PM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1154" data-original-width="2094" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6oCNiwVUAf2-1HtIaI1ebf2ckaOjHaWyP8XeW26P9n2pfT7QMoO8QYxiHeyOXQSea2H4tEkRneaZPBEuFiAKKfWh53RkElWHKZNxxtNtDbtaxLP5OOMtGcWwhrbc00EQpKidd19NIXPHJmjg7or83upEnlgt6RzpdzualfWAPimaV5WSkrkX_ZrYdVaR1/s16000/Screen%20Shot%202026-05-02%20at%201.57.39%20PM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Jospeh Cotten and Orson Welles in THE THIRD MAN Year: 1949 Rating: *****</u></td></tr></tbody></table><p>It's not really that big a deal that Orson Welles turns up over fifty-minutes into THE THIRD MAN, being that audiences awaited KING KONG for about the same period of time...<br></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>The term best describing Welles's Harry Lime is <i>anticipated antagonist,</i> and yet all his criminal activity is refuted by best friend Joseph Cotten as <i>cheap novelette</i> Western writer Holly Martins, and especially heartbroken stage-actress-girlfriend Alida Valli, who Cotten attempts subtly romancing... but can't compete with the ghost...</p><p><span></span></p>

alida valli, bernard lee, british film noir, carol reed, forties, joseph cotten, mystery, orson welles, thriller, trevor howard

ORSON WELLES AND JOSEPH COTTEN SURVIVE 'THE THIRD MAN'

Jospeh Cotten and Orson Welles in THE THIRD MAN Year: 1949 Rating: ***** It's not really that big a deal that Orson Welles turns up over...

ORSON WELLES AND JOSEPH COTTEN IN 'JOURNEY INTO FEAR'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguor00zaLn8rcQF8pCjcOACGQEReXaWzBZ0a3V_jFZ9cSA8qu47pgYhL8pkxqcEX714-nQJw1MNqE8IcCpYP6qbz05xxau_EWS4eFsVKXdp15o9fBY9vTUh-fJ4tk6T7ogivvUpv7LPQ08b31Tyo_yMktiet64bAvcJLuj5rFi8KcSYPoKss0CRMgL8DCc/s1882/Screen%20Shot%202026-05-02%20at%2011.00.48%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="992" data-original-width="1882" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguor00zaLn8rcQF8pCjcOACGQEReXaWzBZ0a3V_jFZ9cSA8qu47pgYhL8pkxqcEX714-nQJw1MNqE8IcCpYP6qbz05xxau_EWS4eFsVKXdp15o9fBY9vTUh-fJ4tk6T7ogivvUpv7LPQ08b31Tyo_yMktiet64bAvcJLuj5rFi8KcSYPoKss0CRMgL8DCc/s16000/Screen%20Shot%202026-05-02%20at%2011.00.48%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Joseph Cotten and Orson Welles in JOURNEY INTO FEAR Year: 1943 Rating: ****</u><br></td></tr></tbody></table><p>An entertaining, lightweight crime yarn about a married and very passive arms dealer... who ironically has never fired a gun... stuck on a cargo ship where there lurks a clandestine Nazi out to kill him...<br> <br> Joseph Cotten stars as the hunted pawn who, having left loyal wife Ruth Warrick ashore, is reluctantly sent aboard with dancer Dolores Del Rio and meets various passengers including a Turkish tobacco dealer, a slick gambler and a German businessman. It's not hard figuring out who the main heavy is, but it doesn't matter...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><span></span></p>

agnes moorehead, classic, delores del rio, everette sloane, film noir or melodrama, forties, hit-man, joseph cotten, mystery, nazi, norman foster, orson welles, ruth warrick, suspense

ORSON WELLES AND JOSEPH COTTEN IN 'JOURNEY INTO FEAR'

Joseph Cotten and Orson Welles in JOURNEY INTO FEAR Year: 1943 Rating: **** An entertaining, lightweight crime yarn about a married and ver...

DAVID NIVEN, PETER SELLERS & ORSON WELLES IN 'CASINO ROYALE'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyuyN-zlYMgY67mWigqqMci60-QtXedCh54-nVdPB9ik5Dx53yrCYEDy88v9cJZyum8S0LmwS7L4XIT5GARSriQE_ux-ImQneBCdOLHL9YdPRjecU9LcYh6C9P0Ox6EEJqWjzqraIETHxKWdrVVuy8vX_k29EI9HcyxxcriDuFLyUtFAzf8kM_8agULEop/s2758/Screen%20Shot%202025-06-29%20at%209.04.23%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1218" data-original-width="2758" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyuyN-zlYMgY67mWigqqMci60-QtXedCh54-nVdPB9ik5Dx53yrCYEDy88v9cJZyum8S0LmwS7L4XIT5GARSriQE_ux-ImQneBCdOLHL9YdPRjecU9LcYh6C9P0Ox6EEJqWjzqraIETHxKWdrVVuy8vX_k29EI9HcyxxcriDuFLyUtFAzf8kM_8agULEop/s16000/Screen%20Shot%202025-06-29%20at%209.04.23%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>ORSON WELLES from CASINO ROYALE Year: 1967 Rating: *1/2</u></td></tr></tbody></table><p>The infamous James Bond Spy Spoof CASINO ROYALE from the much-too-colorful 1960's could be deemed unbelievably awful but with a collection of writers and directors (including <a href="http://www.cultfilmfreaks.com/search/label/val%20guest">Val Guest</a> and John Huston) desperately herding their all-star cast into what wound up resembling a high-priced TV variety show, it IS believable to have turned out so... well... unbelievably awful...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Chopped into vignettes, by far the most awkward has David Niven's retired/reserved James Bond in Scotland (some kind of homage to Sean Connery) being tempted by a castle of gorgeous "daughters" of John Huston's newly-killed M...</p><p><span></span></p>

angela scoular, barbara bouchet, british, comedy, david niven, deborah kerr, james bond, joanna pettet, john huston, orson welles, peter sellers, spoof, spy, ursula andress, val guest, woody allen

DAVID NIVEN, PETER SELLERS & ORSON WELLES IN 'CASINO ROYALE'

ORSON WELLES from CASINO ROYALE Year: 1967 Rating: *1/2 The infamous James Bond Spy Spoof CASINO ROYALE from the much-too-colorful 1960'...

REGENERATING THROUGHOUT 'THE TRANSFORMERS: THE MOVIE'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAhf-QUzXSTmd3egCt2tDL9JN6GQRPdo3FLWH0HH7gDO0n7PBxrqFDoOET1DTUfAcgDh6DS1BvJ1dmE5CMjG159A6k0bUh7nMDJkzViAL5yAl2Lt6aa6TkQA6cZRRD9P-x_MBYHpHFS9-YfCQsMz03YBbpo7SeoWVuqXwkvbgfmbnbK2B9xXOV_ZDYeQjR/s1620/Screen%20Shot%202024-09-27%20at%204.47.27%20PM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="822" data-original-width="1620" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAhf-QUzXSTmd3egCt2tDL9JN6GQRPdo3FLWH0HH7gDO0n7PBxrqFDoOET1DTUfAcgDh6DS1BvJ1dmE5CMjG159A6k0bUh7nMDJkzViAL5yAl2Lt6aa6TkQA6cZRRD9P-x_MBYHpHFS9-YfCQsMz03YBbpo7SeoWVuqXwkvbgfmbnbK2B9xXOV_ZDYeQjR/s16000/Screen%20Shot%202024-09-27%20at%204.47.27%20PM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Orson Welles heads THE TRANSFORMERS: THE MOVIE Year: 1986 Rating: ****</u></td></tr></tbody></table><p>Critics unfairly blasted THE TRANSFORMERS MOVIE as nothing but a prolonged toy commercial while it's really a collected hybrid of brisk, adult-oriented, ultra-violent HEAVY METAL-inspired animation; stylized Japanese anime; 1970's expository-filled Marvel sci-fi comics; Roger Dean's proggy planets inhabited by those titular robots that turn into motor-vehicles and spaceships or are already (in the best scenes) metallic dinosaurs, lizards and sharks... while a planet-engulfing planet derived from George Lucas's STAR WARS weapon <i>The Death Star</i> and <i>V'Ger</i> from <a href="http://www.cultfilmfreaks.com/2022/07/STMP.html">STAR TREK: THE MOTION PICTURE</a> is the truly formidable antagonist... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>In the budding-hero lead, Judd Nelson turns in a kind of deliberately cornball 1950's throwback, befitting the equally cheesy wall-to-wall 1980's stadium-rock/arcade-jukebox soundtrack... while Orson Welles provided his last professional job, voicing that immense world-engulfing villain, splendidly named Unicron...</p><p><span></span></p>

action, adventure, cartoon, david mendenhall, eighties, eric idle, fantasy, judd nelson, leonard nimoy, orson welles, robert stack, science-fiction

REGENERATING THROUGHOUT 'THE TRANSFORMERS: THE MOVIE'

Orson Welles heads THE TRANSFORMERS: THE MOVIE Year: 1986 Rating: **** Critics unfairly blasted THE TRANSFORMERS MOVIE as nothing but a prol...

TOM SMOTHERS & ORSON WELLES IN 'GET TO KNOW YOUR RABBIT'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIgzzrqSHBJKt1nWyIxzg_So1m6qqh81Og1LerDhU8io6rDbtIP-5kH1rCTwIc0H1fv0MDexDxHa7vmX7bwU6PyZVpUpmr2Vjkd4RXkktudvoGGW5x6WvxusvzcBcic3wUoyHD_S3EJBCCwRabxPn7Yeo2iuZYL1oNHoQPNwGmWohnmD6TntSX0znYEzlo/s2006/Screen%20Shot%202023-12-31%20at%202.13.42%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1084" data-original-width="2006" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIgzzrqSHBJKt1nWyIxzg_So1m6qqh81Og1LerDhU8io6rDbtIP-5kH1rCTwIc0H1fv0MDexDxHa7vmX7bwU6PyZVpUpmr2Vjkd4RXkktudvoGGW5x6WvxusvzcBcic3wUoyHD_S3EJBCCwRabxPn7Yeo2iuZYL1oNHoQPNwGmWohnmD6TntSX0znYEzlo/s16000/Screen%20Shot%202023-12-31%20at%202.13.42%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: GET TO KNOW YOUR RABBIT Year: 1972 Rating: ***</u></td></tr></tbody></table><p>Ironically, Brian De Palma's GET TO KNOW YOUR RABBIT... an anti-corporate, counter-culture comedy... is a lot like the previous decade's I'LL NEVER FORGET WHAT'S'ISNAME, and both feature Orson Welles, first as a boss who doesn't want to lose his top young employee and here a magic instructor that this film's star, Tom Smothers of Smothers Brothers fame, takes lessons from after quitting his job as executive John Astin's problem-solving underling...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Welles has a total of ten-minutes screen-time, and upon graduation asks Smothers' Donald Beeman if he had been like a father to him, wherein Tommy's expression... the signature dimwitted naiveté more of an irked, stonewall glib... shakes his head, "No" which is one of several problems since this offbeat character, played by a naturally offbeat comic-actor on his own, doesn't seem game for this particularly strange and completely random road comedy...<br></p><p><span></span></p>

allen garfield, comedy, counter-culture, john astin, katharine ross, m. emmett walsh, orson welles, seventies, tom smothers

TOM SMOTHERS & ORSON WELLES IN 'GET TO KNOW YOUR RABBIT'

Title: GET TO KNOW YOUR RABBIT Year: 1972 Rating: *** Ironically, Brian De Palma's GET TO KNOW YOUR RABBIT... an anti-corporate, counter...

ORSON WELLES PUTS ANTHONY PERKINS THROUGH 'THE TRIAL'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinodC0LaLgSivYr0Y9ca32QzFuHb5eOpaMabEZUIYk_mPya_MjYKRhuS1VUjX5kjsUBWxMDsCzICiq90llv7zCN-4csoQ5uzpMdgeLKUVZDcgRWh8OhuZUtLVi7sfPDJV_QeUUL-zf2OaUgZEfZdeIq06_qsoaLyB9Zdc4idiqtHWaEurbXqfjLAl-QNZG/s1134/380840362_1806949616400873_9172979606554586118_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="664" data-original-width="1134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinodC0LaLgSivYr0Y9ca32QzFuHb5eOpaMabEZUIYk_mPya_MjYKRhuS1VUjX5kjsUBWxMDsCzICiq90llv7zCN-4csoQ5uzpMdgeLKUVZDcgRWh8OhuZUtLVi7sfPDJV_QeUUL-zf2OaUgZEfZdeIq06_qsoaLyB9Zdc4idiqtHWaEurbXqfjLAl-QNZG/s16000/380840362_1806949616400873_9172979606554586118_n.jpg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Anthony Perkins in Orson Welles's THE TRIAL Year: 1962 Rating: ***1/2</u></td></tr></tbody></table><p>Before his final William Shakespeare adaptation CHIMES AT MIDNIGHT aka FALSTAFF, the legendary actor/director <a href="http://www.cultfilmfreaks.com/search/label/orson%20welles">Orson Welles</a> said that, if he had to chose <i>only one</i> movie to offer for entrance into Heaven, it would be THE TRIAL — ironic since it's basically a journey into Hell...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Actually, Anthony Perkins as Joseph K (for author Kafka) wakes up there already, stuck within a frustrating perdition, in his very own apartment that, next door to local floozy Jeanne Moreau, makes him a suspect by plainclothes-detectives, who begin a somewhat subtle interrogation that progresses throughout, involving several other authority figure types...</p><p><span></span></p>

adaptation, akim tamiroff, anthony perkins, franz kafka, import, jeanne moreau, jess hahn, mystery, neo noir, orson welles, romy schneider, sixties, thriller

ORSON WELLES PUTS ANTHONY PERKINS THROUGH 'THE TRIAL'

Anthony Perkins in Orson Welles's THE TRIAL Year: 1962 Rating: ***1/2 Before his final William Shakespeare adaptation CHIMES AT MIDNIGHT...

ORSON WELLES IN 'FERRY TO HONG KONG' WITH SYLVIA SYMS

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaWcVRKD2i1toiHdHbC0jf6y-6hqN41GYD9yxPip8UORrbM8vwc9RYmZHmBrSFO2AVQiBNyqvX7sSa-cTd0ASKGKMY8PM3SN_Gb12qGvwGS_-euiZJk-WwydWpsH-9i6wv-qu2e8VWTK4cw2Bk-3TPkNE7UMa7dqz590ANt1w3ZaooV93CfrwaUsFN8g/s1600/Screen+Shot+2020-03-11+at+4.23.12+AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="715" data-original-width="1600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaWcVRKD2i1toiHdHbC0jf6y-6hqN41GYD9yxPip8UORrbM8vwc9RYmZHmBrSFO2AVQiBNyqvX7sSa-cTd0ASKGKMY8PM3SN_Gb12qGvwGS_-euiZJk-WwydWpsH-9i6wv-qu2e8VWTK4cw2Bk-3TPkNE7UMa7dqz590ANt1w3ZaooV93CfrwaUsFN8g/s16000/Screen+Shot+2020-03-11+at+4.23.12+AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Closeup of the dragon around the disc menu for FERRY TO HONG KONG Year: 1959</u></td></tr></tbody></table><p>British director Lewis Gilbert's FERRY TO HONG KONG could have made a great pilot for a TV series: The premise has maverick loafer Mark Conrad, played by  Curd Jürgens, winding up on a Ferry from Hong Kong to Macao. Officials at either port won’t let him on land so he has to remain a passenger on the Ferry... thus becoming a not-so-accidental, omnipresent tourist...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Now for the antagonist: Orson Welles as Captain Hart, an uptight, prissy, anal retentive, control freak Captain who runs the boat with a iron fist despite his passive/aggressive composure... <br> </p>

adventure, comedy, curt jurgens, fifties, lewis gilbert, milton reid, orson welles, sylvia syms

ORSON WELLES IN 'FERRY TO HONG KONG' WITH SYLVIA SYMS

Closeup of the dragon around the disc menu for FERRY TO HONG KONG Year: 1959 British director Lewis Gilbert's FERRY TO HONG KONG could ...

ORSON WELLES DIRECTS NEO NAZI FILM NOIR 'THE STRANGER'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ho3zge4OwcPVeusZz5X5VjyWXVmZVixeXcQfQWMxhEKxaOrIsZGn-XmSd5LVinlOVMT4RKJ4r4LiFf0mWZRF49SsRg9zEuCBdNeW2gll4URelN_8-S_JfV-KSMLMe3vUn5DENrs5ptT_B6eO2Vde-51FKc5rAhyG0TGKmMfIl4KDaflzcyIIODUzAw/s1647/Screen%20Shot%202022-10-29%20at%204.05.47%20AM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="867" data-original-width="1647" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ho3zge4OwcPVeusZz5X5VjyWXVmZVixeXcQfQWMxhEKxaOrIsZGn-XmSd5LVinlOVMT4RKJ4r4LiFf0mWZRF49SsRg9zEuCBdNeW2gll4URelN_8-S_JfV-KSMLMe3vUn5DENrs5ptT_B6eO2Vde-51FKc5rAhyG0TGKmMfIl4KDaflzcyIIODUzAw/s16000/Screen%20Shot%202022-10-29%20at%204.05.47%20AM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: The Stranger Year: 1946 Rating: ****</u></td></tr></tbody></table><p>Orson Welles plays an edgy and intense but, on the surface, affable, intellectual, quote-spouting teacher about to marry the beautiful daughter of a renown judge in a small town epitomizing post-war, postcard America....</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Here where he's the perfect man: brilliant, handsome, and determined, with only one drawback — he's a former Nazi; on top of which, he still believes in "the cause" and that it could possibly sustain... </p><span></span>

billy house, byron keith, edward g. robinson, film noir or melodrama, forties, loretta young, nazi, orson welles, richard long, thriller

ORSON WELLES DIRECTS NEO NAZI FILM NOIR 'THE STRANGER'

Title: The Stranger Year: 1946 Rating: **** Orson Welles plays an edgy and intense but, on the surface, affable, intellectual, quote-spoutin...

ORSON WELLES AGAINST CHARLTON HESTON IN 'TOUCH OF EVIL'

<p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8S8f8p1fEnjl8P4u3oEQT_8LiknYYSUA3p_8r8NpJAy0JSrqT6qqUsiD5naSakLVwz2r7w7x4H_wb04_p5iXjBmmngGNxfD7GrgzWACWEbW-S8j8BOX6xHMJFYL-yhdiJ76DJuDDbN45ZisoIjrSqrg1ldsRqS2K4dKd-9vitvYgpSXmKa9uyEffcVQ/s1500/Screen%20Shot%202022-10-30%20at%203.12.25%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="936" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8S8f8p1fEnjl8P4u3oEQT_8LiknYYSUA3p_8r8NpJAy0JSrqT6qqUsiD5naSakLVwz2r7w7x4H_wb04_p5iXjBmmngGNxfD7GrgzWACWEbW-S8j8BOX6xHMJFYL-yhdiJ76DJuDDbN45ZisoIjrSqrg1ldsRqS2K4dKd-9vitvYgpSXmKa9uyEffcVQ/s16000/Screen%20Shot%202022-10-30%20at%203.12.25%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Janet Leigh with Charlton Heston and Orson Welles in TOUCH OF EVIL Year: 1958 Bullets: ****1/2</u></td></tr></tbody></table><p>Through the years since 1958, Charlton Heston felt love, then hate, then love for TOUCH OF EVIL director Orson Welles, being that he's responsible for suggesting that Welles... initially cast as the literal heavy as crooked border police captain Hank Quinlan... also become the film's director for Universal Pictures... </p><p></p><p></p><p></p><p></p><p></p><p></p><p>The same studio that would throw the legendary auteur off the lot upon seeing the first cut, deemed too dark and disturbing (commonplace now); after which, decades later, adhering to Welles's 58-page memo, Universal provided a faithfully-restored version: showcasing the opening 3 1/2 minute one-shot-take through an entire street, up and around buildings, trading-off various source music with overlapping dialogue, initially littered with opening credits...</p><span></span>

akim tamiroff, charlton heston, dennis weaver, fifties, film noir or melodrama, janet leigh, joanna moore, joi lansing, joseph calleia, mercedes mccambridge, mort mills, orson welles, wayne taylor

ORSON WELLES AGAINST CHARLTON HESTON IN 'TOUCH OF EVIL'

Janet Leigh with Charlton Heston and Orson Welles in TOUCH OF EVIL Year: 1958 Bullets: ****1/2 Through the years since 1958, Charlton Heston...

PAUL SCOFIELD IN 'A MAN FOR ALL SEASONS' WITH ORSON WELLES

<p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbWmSjpLLarm_Pf75axWeFOeqsu6qAjLh-TrU5vH9VU2HL3rmAVzviYZ_Pnnij7XHGLL5AcYYy_PhGFPZd3amj3icqFdKzwsprK3qSeNqVS8Fbz1eByQ848mAkIjD1e5C1VHjb-gdvYJYoi6D4j1sFEsrpeQcElvy9cMius32CM2C4fSD5rFMplWOVEQ/s1344/Screen%20Shot%202022-11-02%20at%204.37.01%20PM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="783" data-original-width="1344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbWmSjpLLarm_Pf75axWeFOeqsu6qAjLh-TrU5vH9VU2HL3rmAVzviYZ_Pnnij7XHGLL5AcYYy_PhGFPZd3amj3icqFdKzwsprK3qSeNqVS8Fbz1eByQ848mAkIjD1e5C1VHjb-gdvYJYoi6D4j1sFEsrpeQcElvy9cMius32CM2C4fSD5rFMplWOVEQ/s16000/Screen%20Shot%202022-11-02%20at%204.37.01%20PM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Orson Welles in A MAN FOR ALL SEASONS Year: 19566</u></td></tr></tbody></table><p>Orson Welles, years after CITIZEN KANE, said the hardest role to play was probably that of Joseph Cotten's Jeb Leland, a man so determined, honest, and stubborn, he doesn't have many rooting for him, but instead, the sympathy goes to the flawed leading man... <br> <br> Far from the lead, Welles makes an appearance here as a perplexed Cardinal in the Oscar Winning A MAN FOR ALL SEASONS, kickstarting an accusation that would lead to the death of the titular priest who would not bend for anyone, not even the King of England... the infamous Henry the XIII... who, played by Robert Shaw, has a voracious laugh as rich as fool's gold... <br> </p><p></p><p></p><p></p><p></p><p></p><p></p>

england, john hurt, leo mckern, nigel davenport, orson welles, paul scofield, religion, sixties, susannah york

PAUL SCOFIELD IN 'A MAN FOR ALL SEASONS' WITH ORSON WELLES

Orson Welles in A MAN FOR ALL SEASONS Year: 19566 Orson Welles, years after CITIZEN KANE, said the hardest role to play was probably that ...

RICHARD FLEISCHER'S TRUE CRIME ADAPTATION OF 'COMPULSION'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjht5S2U8gasORso3U5ABnbPYmHmWRnpzSMjhmuDRPY5P1O0MPloABuXbT-2mTP8Emoqe2k238PIHbu9M4RsvQa1ciqSfqtp0gooiaUX5tJqav-jlbIkalpY5GrYQXyLeKvZfrFPyVciBGWAxsowi1CeeFunflNW6OpwR7edTp49pt9N8q7l4Ma1WE-MA/s2149/Screen%20Shot%202022-10-30%20at%202.50.42%20AM%202.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1143" data-original-width="2149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjht5S2U8gasORso3U5ABnbPYmHmWRnpzSMjhmuDRPY5P1O0MPloABuXbT-2mTP8Emoqe2k238PIHbu9M4RsvQa1ciqSfqtp0gooiaUX5tJqav-jlbIkalpY5GrYQXyLeKvZfrFPyVciBGWAxsowi1CeeFunflNW6OpwR7edTp49pt9N8q7l4Ma1WE-MA/s16000/Screen%20Shot%202022-10-30%20at%202.50.42%20AM%202.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Poster for Dean Stockwell and Bradford Dillman in COMPULSION Year: 1959 Rating: ****1/2</u></td></tr></tbody></table><p>In-between the late Dean Stockwell's <i>green-haired</i> child actor days and the likeable chubby fella leaping through time TV-era, he was a handsome young man but always with a gritty edge... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Befitting perfectly alongside a more jovially crooked Bradford Dillman in COMPULSION directed by Richard Fleischer, who had trouble with the first-billed/third-act star Orson Welles (for tax issues more than attitude), providing a walloping anti-death penalty speech lasting ten minutes... yet by that time the best scenes had long passed...<br></p><p><span></span></p>

adaptation, bio, bradford dillman, crime, dean stockwell, e.g. marshall, fifties, gavin macleod, melodrama, orson welles, richard fleischer, robert f. simon

RICHARD FLEISCHER'S TRUE CRIME ADAPTATION OF 'COMPULSION'

Poster for Dean Stockwell and Bradford Dillman in COMPULSION Year: 1959 Rating: ****1/2 In-between the late Dean Stockwell's green-haire...

ORSON WELLES DIRECTS AND STARS IN 'THE LADY FROM SHANGHAI'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidiI2i60YyYtpr8XteNBGQLK27yX-SjXf7nac0_CzOGY38vC9nuWGJPlWEv3zj0ysCRslmJSzqWFCKC0-B1K0z5pZnEObbTrQeKwKU5xt5UlIeE209oRqGf_M4pSdiXIM56Px7wWv4TMfvoxO4DFpXyYkFC4G3iva0f4fU7geFa7HSK1eDNPWF0fKI6A/s1589/Screen%20Shot%202022-10-30%20at%2012.09.15%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="860" data-original-width="1589" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidiI2i60YyYtpr8XteNBGQLK27yX-SjXf7nac0_CzOGY38vC9nuWGJPlWEv3zj0ysCRslmJSzqWFCKC0-B1K0z5pZnEObbTrQeKwKU5xt5UlIeE209oRqGf_M4pSdiXIM56Px7wWv4TMfvoxO4DFpXyYkFC4G3iva0f4fU7geFa7HSK1eDNPWF0fKI6A/s16000/Screen%20Shot%202022-10-30%20at%2012.09.15%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Title: The Lady From Shanghai Year: 1947 Rating: ***1/2</u></td></tr></tbody></table><p>Orson Welles's 1946 directorial noir adventure THE LADY FROM SHANGHAI is famous for the ending, but there <i>are</i> some worthy middle parts of this unique thriller that Welles cast ex-wife Rita Hayworth in, cutting off her luscious GILDA hair and ticking off studio-heads right off the bat...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>Not that it matters... Hayworth's performance isn't that "wicked" and yet she <i>is</i> fitfully vulnerable: particularly in a corny horse-and-carriage scene Welles opposed, introducing both his contentedly poor Irishman, Mike "Black Irish" O'Hara to Hayworth's rich, sullen Elsa, wife of a crippled, snaky and hugely infamous lawyer played by Everette Sloane... </p><p><span></span></p>

action, adventure, everette sloane, film noir or melodrama, forties, glenn anders, orson welles, rita hayworth, rudolph maté', ted decorsia, thriller

ORSON WELLES DIRECTS AND STARS IN 'THE LADY FROM SHANGHAI'

Title: The Lady From Shanghai Year: 1947 Rating: ***1/2 Orson Welles's 1946 directorial noir adventure THE LADY FROM SHANGHAI is famous ...

ORSON WELLES HYPNOTIZES NANCY GUILD WITH 'BLACK MAGIC'

<p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcsdU-bowMNuYSBU2-n0QZqIGRFIumd5fv52JBK8fRUEyOz4eNtgeJGPPlx-5UHFa27AurPD2khtjHLhR5rpq3uReMTaTmqf5CyHoJAsTiOvRt3Xj9qOwHlFqM4-BI3_jxR06F0OgBmBff_0MP40dDenLmP2D7AMyL4OS2-YWfEcgUSYHgpF9jV1MOLw/s1022/1.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="556" data-original-width="1022" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcsdU-bowMNuYSBU2-n0QZqIGRFIumd5fv52JBK8fRUEyOz4eNtgeJGPPlx-5UHFa27AurPD2khtjHLhR5rpq3uReMTaTmqf5CyHoJAsTiOvRt3Xj9qOwHlFqM4-BI3_jxR06F0OgBmBff_0MP40dDenLmP2D7AMyL4OS2-YWfEcgUSYHgpF9jV1MOLw/s16000/1.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Orson Welles and Nancy Guild starring in BLACK MAGIC Year: 1948 Rating: **1/2</u></td></tr></tbody></table><p>As a hired actor instead of director or producer, Orson Welles — while making money for those projects he developed on his own — was used for his deep, godlike voice, but in BLACK MAGIC... released the same year as THE THIRD MAN which epitomized that sublime vocal delivery... it was his sharp, cold, piercing eyes that were the most exploited...</p><p></p><p></p><p></p><p></p><p>He's a hypnotist after all: born the son of two 1700's-era gypsies and whose mother could actually foretell the future, he is soon orphaned when they're hanged for wielding so-called demonic powers...  </p><span></span>

adventure, akim tamiroff, berry kroeger, con man, drama, forties, frank latimore, nancy guilt, occult, orson welles, period piece, revenge, reymond burr, victorian

ORSON WELLES HYPNOTIZES NANCY GUILD WITH 'BLACK MAGIC'

Orson Welles and Nancy Guild starring in BLACK MAGIC Year: 1948 Rating: **1/2 As a hired actor instead of director or producer, Orson Welles...

ORSON WELLES, PAMELA FRANKLIN & LEE PURCELL 'NECROMANCY'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeOYTDVcq7VdkTX5auzU3YTUfqZBKWU3fxBxuFOzl4-XSilHuArmQH2o2oqTBx18Swf2hW5fwzxxGS-nG9ebfqNnMT33tVa32GDviOdKOfccRJ2APJQEevGMgxGAl1cSB9I2meyaUcuBSHwOYPkUpnxtTXbULYLPdc9Jey8ssDvlTbs8Vbu5jfMvV1Rg/s908/Screen%20Shot%202022-10-27%20at%202.21.00%20AM.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="572" data-original-width="908" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeOYTDVcq7VdkTX5auzU3YTUfqZBKWU3fxBxuFOzl4-XSilHuArmQH2o2oqTBx18Swf2hW5fwzxxGS-nG9ebfqNnMT33tVa32GDviOdKOfccRJ2APJQEevGMgxGAl1cSB9I2meyaUcuBSHwOYPkUpnxtTXbULYLPdc9Jey8ssDvlTbs8Vbu5jfMvV1Rg/s16000/Screen%20Shot%202022-10-27%20at%202.21.00%20AM.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Pamela Franklin & Orson Welles in NECROMANCY Year: 1972 Rating: **1/2</u></td></tr></tbody></table><p>Exploitation/Horror b-director Bert I. Gordon definitely knew WHO he had for the <i>Rural Satanic Hippie Cult</i> flick, THE WITCHING actually/originally titled NECROMANCY, but he didn't know enough about WHAT he had in his stellar cast including the legendary Orson Welles as the leader of a colorful coven... </p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>He's yearning to reanimate his dead son using the lovely, vulnerable, and soul-troubled wife of new couple in town Pamela Franklin, married to passive tagalong Michael Onkean as both are semi-seduced into the realm by one of the few women more insanely gorgeous than Franklin...</p><p><span></span></p>

bert i. gordon, harvey jason, horror, interview, lee purcell, michael ontkean, occult, orson welles, rural, seventies, thriller, witch

ORSON WELLES, PAMELA FRANKLIN & LEE PURCELL 'NECROMANCY'

Pamela Franklin & Orson Welles in NECROMANCY Year: 1972 Rating: **1/2 Exploitation/Horror b-director Bert I. Gordon definitely knew WHO ...

ORSON WELLES & OLIVER REED 'I'LL NEVER FORGET WHAT'S'ISNAME'

<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaxWB9C2vaki3cytvg5DigjNJp7NSBNHzFz6Q0hWmcZdOQOKVwmv9uqI6N0DalfSkrs3pRqFkZu7O_ILg2aF8rrwhg2hAI3KoofUgaO-byOza5Eit6MswNRXLGZuDNG1C8wBGlXzQIHlpUbBIAcax2l2zhc1F_bq_u8tz-tP8w7x46Pb66WiKr1apuJBre/s1502/Screen%20Shot%202022-05-11%20at%2011.21.48%20PM%202%203.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="805" data-original-width="1502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaxWB9C2vaki3cytvg5DigjNJp7NSBNHzFz6Q0hWmcZdOQOKVwmv9uqI6N0DalfSkrs3pRqFkZu7O_ILg2aF8rrwhg2hAI3KoofUgaO-byOza5Eit6MswNRXLGZuDNG1C8wBGlXzQIHlpUbBIAcax2l2zhc1F_bq_u8tz-tP8w7x46Pb66WiKr1apuJBre/s16000/Screen%20Shot%202022-05-11%20at%2011.21.48%20PM%202%203.jpeg"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Oliver Reed in I'LL NEVER FORGET WHATS'ISNAME Year: 1967 Rating: ***</u></td></tr></tbody></table><p>Another 1960's collaboration from director <a href="http://www.cultfilmfreaks.com/search/label/michael%20winner">Michael Winner</a> with actor <a href="http://www.cultfilmfreaks.com/search/label/oliver%20reed">Oliver Reed</a>, I'LL NEVER FORGET WHATS'ISNAME has an obvious and incredibly intended message from the get-go as Reed, a young and successful ad man, comes to work wielding an ax, destroying his own desk before quitting to his literally big boss <a href="http://www.cultfilmfreaks.com/search/label/orson%20welles">Orson Welles</a>, who, with every significantly-spoken one-liner, represents and even embraces the evils of commercialism...</p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>The movie feels like either a direct sequel to an original story... that could have shown how Reed's Andrew Quint became a success and why he wound up hating that success... or one that started twenty-minutes in... Either way, with so much anger towards this occupation right off the bat... or ax... the writer has more things to say than the characters...</p><p><span></span></p>

ann lynn, british, british new wave, carol white, comedy, counter-culture, drama, edward fox, mark eden, michael winner, mindtrip, oliver reed, orson welles, sixties

ORSON WELLES & OLIVER REED 'I'LL NEVER FORGET WHAT'S'ISNAME'

Oliver Reed in I'LL NEVER FORGET WHATS'ISNAME Year: 1967 Rating: *** Another 1960's collaboration from director Michael Winner ...

ORSON WELLES ANSWERS A LAST-MINUTE DICK CAVETT QUESTION

<p></p><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjW3E6qrHmRb6u_k7QC2mK8Lt0qgd-ubWQueiJaOX52luq9mB-8RDV6Fv1HdqOqCHek0UPc7w8W4_YK7fml5az26w1xP2h1dcrwnvJi8WdRue4q4Mxkk8do3fpryAs7vKvuCl-LhxCEcK9rWdkYJcixmg1Fr4JVAo7s-UL27M67oneVhFu82vJEfY6oTQ=s2048" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1043" data-original-width="2048" src="https://blogger.googleusercontent.com/img/a/AVvXsEjW3E6qrHmRb6u_k7QC2mK8Lt0qgd-ubWQueiJaOX52luq9mB-8RDV6Fv1HdqOqCHek0UPc7w8W4_YK7fml5az26w1xP2h1dcrwnvJi8WdRue4q4Mxkk8do3fpryAs7vKvuCl-LhxCEcK9rWdkYJcixmg1Fr4JVAo7s-UL27M67oneVhFu82vJEfY6oTQ=s16000"></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><u>Orson Welles's companion/actress Oja Koder in THE OTHER SIDE OF THE WIND</u></td></tr></tbody></table><p>In a 1970 interview on The Dick Cavett Show, Orson Welles was asked a final question after an hour discussing subjects ranging from Adolf Hitler to Winston Churchill, and with literally <i>two minutes left</i> Dick threw a bizarre, risque, avant-garde "left field pitch" that Orson QUICKLY hit out of the park...<br></p><p></p><p></p><p></p><p>And while the question/subject has NOTHING to do with these accompanied screen-captures from Welles's risque/avant-garde labor-of-love THE OTHER SIDE OF THE WIND, his gorgeous girlfriend/collaborator Oda Kodar is the perfect representation of timeless, stimulating beauty, so, here goes...<br></p><span></span>

dick cavett, interview, norman foster, oja kodar, orson welles, seventies

ORSON WELLES ANSWERS A LAST-MINUTE DICK CAVETT QUESTION

Orson Welles's companion/actress Oja Koder in THE OTHER SIDE OF THE WIND In a 1970 interview on The Dick Cavett Show, Orson Welles was a...

KIRK DOUGLAS & TONY CURTIS PILLAGE THROUGH 'THE VIKINGS'

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwRuaEAKuNz4Z_pbWmA3tFbDrP7OPraM2FqG1KzZHTzQDnveXRRbMG5VMgtmMarUDNL3_N76xMHoVSPtbt4qMFk8u8LpeaYtxJrhOTNP6r7mZM1lwlqBcvAZyr2-pTx6seaTQAGAehl_wL/s1600/1-1.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="676" data-original-width="1389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwRuaEAKuNz4Z_pbWmA3tFbDrP7OPraM2FqG1KzZHTzQDnveXRRbMG5VMgtmMarUDNL3_N76xMHoVSPtbt4qMFk8u8LpeaYtxJrhOTNP6r7mZM1lwlqBcvAZyr2-pTx6seaTQAGAehl_wL/s1600/1-1.jpeg"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Mountain waterfall with James Donald and Ernest Borgnine in Richard Fleischer's THE VIKINGS Year: 1958</u></td></tr> </tbody></table> Can you have a bonafide epic with only three Viking ships? Well Richard Fleischer's THE VIKINGS at least plays like one thanks to a booming opening narration by Orson Welles and especially Kirk Douglas's usual spirited acting style, neatly curbed by a much more subtle Tony Curtis as his unaware half brother....<br> <br> The latter an assertive, resilient Viking slave who, we learn from the prologue, is related to Douglas from an England-set pillaging rape by their Viking king father, Ernest Borgnine, full of hearty laughs and a brawling beard, gulping gallons of grog during various scenes in a noisy tavern where the Vikings party like it's 1099.<br>

almut berg, ernest borgnine, fifties, james donald, janet leigh, kirk douglas, orson welles, richard fleischer, tony curtis

KIRK DOUGLAS & TONY CURTIS PILLAGE THROUGH 'THE VIKINGS'

Mountain waterfall with James Donald and Ernest Borgnine in Richard Fleischer's THE VIKINGS Year: 1958 Can you have a bonafide epic ...

ORSON WELLES LONG-AWAITED 'THE OTHER SIDE OF THE WIND'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVQ3vMJr8em6EIRKdlpgNxPBbkaLUttsBjBUSe4eRKcquuRbCB3Rf7YauEm5UjSyOtylOO6jpwfxaaSLXAhOcneP3TKLoTo-XvJPim0h66C2zh_Mtie3sHh4QVH5txy0s0fHAGMFQZl8t7/s1600/Screen+Shot+2020-04-01+at+7.58.39+PM.jpeg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1186" data-original-width="1600" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVQ3vMJr8em6EIRKdlpgNxPBbkaLUttsBjBUSe4eRKcquuRbCB3Rf7YauEm5UjSyOtylOO6jpwfxaaSLXAhOcneP3TKLoTo-XvJPim0h66C2zh_Mtie3sHh4QVH5txy0s0fHAGMFQZl8t7/s400/Screen+Shot+2020-04-01+at+7.58.39+PM.jpeg" width="400"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Oda Kodar and Robert Random in the film's film YEARS: 1972-2018</u></td></tr> </tbody></table> The anticipated Orson Welles film THE OTHER SIDE OF THE WIND is two pictures in one...<br> <br> The first is a pseudo documentary using multiple cameras centered on veteran director Jack Hannaford, played by John Huston, at an all-night anti-wrap party where people are coming and going around a jump-cut patchwork of color and mostly black-and-white footage...<br> <br> Much like Orson's buddy, Henry Jaglom's decades-later SOMEONE TO LOVE, which was the last movie Welles appeared in (playing himself but without his name being mentioned) and George Lucas's low-budget masterpiece, AMERICAN GRAFFITI, it's a dusk-to-dawn experience, and in this case, the two-hour run time can often feel like eternity...<br>

2018, counter culture, drama, gary graver, new, norman foster, oja kodar, orson welles, peter bogdanovich, pseudo documentary, seventies, susan strasberg

ORSON WELLES LONG-AWAITED 'THE OTHER SIDE OF THE WIND'

Oda Kodar and Robert Random in the film's film YEARS: 1972-2018 The anticipated Orson Welles film THE OTHER SIDE OF THE WIND is two ...

ORSON WELLES CINEMA PRESENTS 'THE LADY FROM SHANGHAI'

<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_GTz6EwcVgkK-pa0Idzeih5DgbAXqUn_nqoCCWhB9j2MHfz5oY4cDea5r7zaEztFhblw2m885i-cMA5P1RahPQATwG_y-jEIu2x1HZfRgkjYKnnrHpDy9YV7MlzySSy4Qfk8oOCqgjc4/s1600/LADYFROMSHANGHAI-quad-emailable.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_GTz6EwcVgkK-pa0Idzeih5DgbAXqUn_nqoCCWhB9j2MHfz5oY4cDea5r7zaEztFhblw2m885i-cMA5P1RahPQATwG_y-jEIu2x1HZfRgkjYKnnrHpDy9YV7MlzySSy4Qfk8oOCqgjc4/s400/LADYFROMSHANGHAI-quad-emailable.jpg" width="400"></a></td></tr> <tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><u>Poster of THE LADY FROM SHANGHAI Year Released: 1947</u></td></tr> </tbody></table> Another potentially great Orson Welles post-CITIZEN KANE motion picture: a flawed yet intriguing 1947 Film Noir, hacked by studio editors during post-production with a melodramatic score that Welles detested...<br> <br> In order to make (his then ex-wife) Rita Hayworth a nefarious femme fatalle, or to set her on another path aesthetically, he cut the iconic long hair that had sensuously draped down upon her lithe shoulders in GILDA, breaking hearts of men worldwide (which was timeless as years later, Morgan Freeman would get bedazzled in SHAWSHANK REDEMPTION). The studio didn't want their starlet to be so downright... vicious and cunning, which takes much of the bite out of this particular vehicle, named after THE LADY who learned her wily trade in one of the most cutthroat locales on Earth that both main characters had been to; and yet, while he merely visited this place, she worked and lived there...<br> <br> <div style="text-align: left;"> </div> <div style="text-align: left;"> </div> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfW63XSbiARIlXzgQvil7obSAaE69FG1Nx7Q6ObaYmieNXWEGFOyiRhxROFDGjm1_nKpB5tbpFCSFQqoIhvrNwpiuD2q6B39rX9sSQslchsEmr2PhnJBTLA8n-sOCadlrs8pfml7G7MjM1/s1600/Screen+Shot+2018-03-25+at+5.23.24+AM.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="684" data-original-width="542" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfW63XSbiARIlXzgQvil7obSAaE69FG1Nx7Q6ObaYmieNXWEGFOyiRhxROFDGjm1_nKpB5tbpFCSFQqoIhvrNwpiuD2q6B39rX9sSQslchsEmr2PhnJBTLA8n-sOCadlrs8pfml7G7MjM1/s320/Screen+Shot+2018-03-25+at+5.23.24+AM.png" width="253"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Welles the actor's actor's actor</u></td></tr> </tbody></table> Upon a yacht on a cruise Welles's Black Irish maverick Michael O'Hara is hired to charter, our gal sings a drowsy tune titled, "You Don't Love Me," a failed attempt for the studio to garner a number one hit, used as a "Variation of the Theme" within the overall soapy, melodramatic soundtrack. Mostly because of this, our beautiful antagonist becomes more of an ambiguous victim that perhaps Welles had intended, going far beyond her necessary act of reeling in a "Useful Idiot..."<br> <br> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwbs0F44jHcVymT2Z8f4-aIAyQbDTbZPT48EN6oWVipk0jfuU4bUUsqsQ61QmTgCAUMcmwR2XbVjWmAVvF8005XRnZ8SXN8qZI9-476NfWYbXTOH7cG6T-7t-yflVK59sYkGFGGDW6zfnt/s1600/Screen+Shot+2019-09-29+at+1.45.27+AM.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1372" data-original-width="1600" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwbs0F44jHcVymT2Z8f4-aIAyQbDTbZPT48EN6oWVipk0jfuU4bUUsqsQ61QmTgCAUMcmwR2XbVjWmAVvF8005XRnZ8SXN8qZI9-476NfWYbXTOH7cG6T-7t-yflVK59sYkGFGGDW6zfnt/s200/Screen+Shot+2019-09-29+at+1.45.27+AM.png" width="200"></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u> Ted de Corsia for the set up</u></td></tr> </tbody></table> Orson had already chosen a patchwork of stock music to drive his sparse yet convoluted maze forward, and yet, while much of the final cut belongs to the director (billed as <i>Production By</i> as opposed to <i>Directed By</i>)... surprisingly, he actually didn't mind how SHANGHAI turned out... the score broke his heart in this pulpy adventure that takes about twenty minutes to pick up, getting past a contrived, uninspired scene the studio ordered Welles to shoot at the 11th hour: where O'Hara and Hayworth's Elsa Bannister meet on a carriage ride seeming straight out of a musical – he the intrepid hero, she the lovely lass.<br>

everette sloane, film noir or melodrama, forties, glenn anders, orson welles, rita hayworth, ted decorsia

ORSON WELLES CINEMA PRESENTS 'THE LADY FROM SHANGHAI'

Poster of THE LADY FROM SHANGHAI Year Released: 1947 Another potentially great Orson Welles post-CITIZEN KANE motion picture: a flawed y...

PAUL SCOFIELD & ROBERT SHAW IN A MAN FOR ALL SEASONS

<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCfx-jSNk5nRU0d2673zTkdYeXN1Ytb2_aNxocWD7pXQs3vnfEPHLZ4Cadwv3u7AJNB9XIIsYiIbKbWggYLEMP-UlIJYmWBW2AOivuZ8P1-fuoh4-4ybfyaiuVP9e_URRc83vWZtQbpBg/s1600/1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCfx-jSNk5nRU0d2673zTkdYeXN1Ytb2_aNxocWD7pXQs3vnfEPHLZ4Cadwv3u7AJNB9XIIsYiIbKbWggYLEMP-UlIJYmWBW2AOivuZ8P1-fuoh4-4ybfyaiuVP9e_URRc83vWZtQbpBg/s400/1.jpg" width="400" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>Orson Welles faced by Paul Scofield YEAR: 1966</u></td></tr> </tbody></table> Orson Welles, years after CITIZEN KANE, said the hardest role to play was probably that of Joseph Cotten's Jeb, a man so determined, honest, and stubborn, he doesn't have many rooting for him, but instead, the praise goes to the flawed leading man...<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdZXGRYvH6Zn_F_qlejxv81mKX0wiLZ95QfJQDO9VnVPgu3RhIQPctAO5k76D7O4fy1ECYVrgMqF3XOcjoybPK0adRaSvKtpaNByzNRlRhyphenhyphenOIMEUXz1wcqgoSfq13ie7SI60bhgFPBZ1I/s1600/2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdZXGRYvH6Zn_F_qlejxv81mKX0wiLZ95QfJQDO9VnVPgu3RhIQPctAO5k76D7O4fy1ECYVrgMqF3XOcjoybPK0adRaSvKtpaNByzNRlRhyphenhyphenOIMEUXz1wcqgoSfq13ie7SI60bhgFPBZ1I/s320/2.jpg" width="144" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">"God or sharkin?"</td></tr> </tbody></table> Orson Welles makes an appearance in the Oscar Winning A MAN FOR ALL SEASONS, kickstarting an accusation that would lead to the death of a priest who would not bend for anyone, not even the King of England, who, played by Robert Shaw, has a voracious laugh as rich as fool's gold. Here we see the connection of Paul Scofield's Thomas More... Without going into details, he was one of the most important priests in the Church of England, and to quickly summarize the plot-line: More was the sole person against the King divorcing his wife and marrying his dead brother's sister. Ironic that, though the King is mentioned throughout, he only (really) turns up in that one jovial scene, trying to change More's heart by simply being his friend. That's a lot what Charles Foster Kane did with Jo Cotten's Jedediah Leland...<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiREPRQGLDGFrCgceMReqnBqo9tD6-8s76_jw7UXvUFXIV3mJ1fyJG70NzyA8L0DbAuhgLm4IR_LqykLTWJ0RkY1ENJUNWL2pkTCQM4pah2U3I5whe_g5hyphenhyphen-AtE_ELhJaHDlEVFCfewxB4/s1600/3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiREPRQGLDGFrCgceMReqnBqo9tD6-8s76_jw7UXvUFXIV3mJ1fyJG70NzyA8L0DbAuhgLm4IR_LqykLTWJ0RkY1ENJUNWL2pkTCQM4pah2U3I5whe_g5hyphenhyphen-AtE_ELhJaHDlEVFCfewxB4/s320/3.jpg" width="278" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Susannah York with Paul Scolfield</td></tr> </tbody></table> But SEASONS is, despite an aura of Catholic propaganda, like CHARIOTS OF FIRE could be misjudged for catering to Christians (despite the main character being Jewish) – especially to those who shy away from religious-friendly cinema – more or less a poetic, and extremely ancient-set mobster film in its backstabbing and backroom dealings; a Gothic Film Noir with eerie statues and shadowy boats stealthily skimming through night lakes to darkened castle locations; or perhaps a modernized Shakespeare, but with words that are much easier to follow, and yet still delivered by British actors who seem born to speak them. Especially Scofield, whose faithfulness to God is the reason; yet for the sake of the story, and the audience, the mellow cadence he carries throughout, with only a few words raised, is what makes his performance true and natural and not what could have been a pontificating sermon, constantly reminding everyone that The King is not above God.<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrYXkuQItcNHIME7Z9TTae7e0coRyTH8SO40zRdRMGdxBzoMQvdj59mqNtev24wCtab5rMb7nIMvBn7ag-8yX6BP2RaHsXur3PQ6OOJ7tug1yhOJO2JGCbkjLsSVox_kmYVuOSdxGSNQw/s1600/4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrYXkuQItcNHIME7Z9TTae7e0coRyTH8SO40zRdRMGdxBzoMQvdj59mqNtev24wCtab5rMb7nIMvBn7ag-8yX6BP2RaHsXur3PQ6OOJ7tug1yhOJO2JGCbkjLsSVox_kmYVuOSdxGSNQw/s320/4.jpg" width="253" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;">Twilight Time DVD Cover</td></tr> </tbody></table> There are flaws that can be blamed on the time it was made, the mid-sixties... From the decade's beginning up until around 1967, when the Renaissance Era began and would continue throughout the 70's, the FADE OUT button was overused by editors, ultimately deleting the overall importance and intensity of certain scenes... almost like they never existed... and you're never quite sure how much time before the new scene began: could be a minute or a year, making the actors have to start all over again. And while John Hurt's terrific role as a young, selfish Richard Rich, falling in step with Leo McKern's shifty middleman instigator, begins to get edgy and intriguing, the film quickly turns from a sort of Roman Catholic espionage into a downer where... well... our MAN is imprisoned for a very long time, viewed through montage, and then executed. Not only a sad thing within the story, but way too much time's spent on the decline right when things were moving...<br /> <br /> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody> <tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvr_XnxbICP1npv45m9JP0SvAn4O_Efb3nLystkuXCDeRs-X360Jnf9tKDd7m151TX8qvh8uOS27h3sbjMr9quAF4qlyOvXN7IILUxiIxsSyMBb1bDyC-JnrpNJvxSRtoN1DcdLBY1gJg/s1600/Screen+shot+2016-05-15+at+1.35.40+AM.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvr_XnxbICP1npv45m9JP0SvAn4O_Efb3nLystkuXCDeRs-X360Jnf9tKDd7m151TX8qvh8uOS27h3sbjMr9quAF4qlyOvXN7IILUxiIxsSyMBb1bDyC-JnrpNJvxSRtoN1DcdLBY1gJg/s1600/Screen+shot+2016-05-15+at+1.35.40+AM.png" /></a></td></tr> <tr><td class="tr-caption" style="text-align: center;"><u>SeasonScore: ****</u></td></tr> </tbody></table> Words are spoken, and must be paid attention to, making this a movie to experience more than once to fully grasp the entirety. And while the superb acting exceeds the direction, which is also good, along with the fade-outs, SEASONS can be encumbered with deliberate angles striving to equal the greatness of the man it represents, or the celebrated stage play in which it's based. But overall, everything does connect. And Scofield is a MAN who, truthfully, is hard to root for completely... Like Welles had stated, anyone playing a character so "right" isn't quite relatable to we common folk with a penchant for anti-heroes, and along with his suffering family, including a gorgeous Susannah York, who understand putting God above the King but not above his life, while basically shoving his family aside. But that gives more power to Scolfield's performance. He's completely on his own. His face rarely changes. And yet, not only by words, he speaks volumes. For such a saint, he wields an often devilish expression. Making this one of those roles no one else could have played. And in the old days, the Oscars were magnetized in that direction.

john hurt, leo mckern, orson welles, paul scofield, sixties

PAUL SCOFIELD & ROBERT SHAW IN A MAN FOR ALL SEASONS

Orson Welles faced by Paul Scofield YEAR: 1966 Orson Welles, years after CITIZEN KANE, said the hardest role to play was probably that o...