tavm After watching Orson Welles' first film, the experimental short The Hearts of Age, on UbuWeb, I decided to see the other one under his name there called Orson Welles: The One-Man Band. This documentary was directed by Vassili Silovic with the cooperation of Oja Kodar who takes us through her and Orson's house in search of his unfinished films and other stray materials. Among the most fascinating of those: scenes of The Other Side of the Wind like that of a female reporter interviewing a narcissistic director played by John Huston and his associate played by Peter Bogdanovich or a car scene with a young woman making love to a young man while the driver is being nonchalant through it all, Welles doing a monologue of reading "Moby Dick", and scenes of The Dreamers featuring compelling turns by both Ms. Kodar and Welles. There's also some funny scenes like that of Welles portraying Winston Churchill or the rejected F for Fake trailer where he claims his "War of the Worlds" radio broadcast wasn't a hoax after all! And then there's his acceptance speech at the American Film Institute honors, his performing with Muppets, and some partially funny moments from his Londan-based endeavors that were also fascinating to watch. There's others I haven't mentioned but I'll just say I heartily recommend Orson Welles: The One-Man Band for any of his enthusiasts out there. P.S. I recognized Charles Gray on The Merchant of Venice clips from his work in The Rocky Horror Picture Show and the Bond films, You Only Live Twice and Diamonds Are Forever.

MisterWhiplash Orson Welles fans, this may be the best you'll get in terms of 'lock-box' finished films from the prolific, perpetually f***ed over father of maverick-style cinema (i.e. few films made in Hollywood, with Europe his only safe place for his very independent ways as an actor/writer/director/producer/editor). Like an author who's smaller, in-the-vault kinds of works put together by an editor into one compilation, One Man Band, like the documentary It's All True, is a sort of collector's item in and of itself. Along with giving the fullest possible glimpses (as far as we Welles fans know) of the films as part of Welles's un-official scrapbook, there are some revelatory insights from his longtime companion Oja Kodar, and clips from a public interview in an auditorium (a very funny one) that shines some light on a couple of issues. The director here is the editor, assembling the pieces at times in the essay style of F for Fake (and this film is now included with it on the brilliantly packaged Criterion DVD), though not as frantic in style and purpose.Here we get something very special, in spurts, and even when the interest is a little more low-key than expected (though fun, the novelty isn't exceptional of Welles reading excerpts from Moby Dick and The Merchant of Venice), one can't look away. The best parts include the intact scenes from the Deep, London, the filmed excerpts of Merchant of Venice, the little moments of Welles's odd, hilarious imitations, and the one that still could be completed, the Other Side of the Wind. That last film is maybe the most fascinating film of the lot, as it goes even further with montage and experimental style than F for Fake. It's wild, it's rambling, and I could only get an idea of what was going on, but that's all I could've asked for anyway. The veneer of Welles's personality, as well, is stripped a bit away through Kodar's insights, how he was more of a modest man than the overwhelming, megalomaniac personality people made him out to be. At the end of the day he was, as the film makes clear without a shadow of doubt, one of the true poets of 20th century cinema, and like other controversial artists his major works were practically all censored, while the minor works barely left his traveling-alongside film cans.To see a filmmaker at work, at least in retrospective, can be many things, from dull, to over-indulgent, to really passing all of that and showing a man at work. While there isn't footage of Welles at work on a set like with Ingmar Bergman Makes a Movie or A.K., the footage here compensates for that. One can see through the little bits of film done, the ones that showed his determination to keep rolling along instead of getting stuck in the past, that it isn't too much of a surprise that he got a little sick of people tipping the hat to Citizen Kane and nothing else he did in his career. His story is one of the tragedies of the artist's world, though it's good to know that he never got too depressed to not quit at the magic and voices. It's a real treat.

dbborroughs This is a loving film essay on Orson Welles and his unfinished films. Its an interesting look at the man who was just trying to make the films he wanted to on his own terms. Made with the assistance of Welles' longtime companion Oja Kodar this film lets us see a number of his unrealized projects for the first time. Its a treat for anyone who has been interested in Orson Welles and heard stories of these lost treasures; or for any one curious to what end he was putting the money got from his numerous film and television roles. While I'm not sure what I would have thought of some of the films (The Dreamers for example) I find that I'm very interested in where he was going with other (his Moby Dick, which consisted of him simply reciting passages from the book is an interesting idea). I especially loved some of the short humorous bits that Welles put together, his Churchill film is very funny, as his is bit with two English tailors. As a person who has been very critical of Welles of late, due in large part to extreme disillusionment with his Don Quixote (which I found to be a crashing bore) I find that this film re-awakened my respect for the man. Its not a perfect film, most of the pieces we see only awaken a desire to see more of the unfinished films and at times it seems to go on too long. Still this is a must see if you're interested in Welles or cinema, especially its lost treasures.

Michael_Cronin When Orson Welles died in 1985, he left behind him several masterpieces, several interesting failures & countless performances in films of varying quality. He also left a massive amount of unfinished work & the legend of a great filmmaker who peaked early & spent the rest of his career struggling to finish projects, most of which remain incomplete.I'm not sure if this documentary debunks or cements that image, but it doesn't really matter, because the real image one is left with is of a filmmaker as a true artist, experimenting with different techniques & ideas as soon as they occur to him, often abandoning films as one might throw away a rough sketch that doesn't quite work. He carried his editing table around the world with him as a painter might carry his brushes & paint.The real joy to be had here is in seeing these rough sketches - short comic skits, recitals from Moby Dick & Shakespeare, screentests & so on. Even more tantalising are the brief glimpses of larger projects which were unable to be completed - The Deep, The Other Side Of The Wind & The Merchant Of Venice. There's several appearances by Welles himself in various forums - talking at a university, performing magic & chatting with the Muppets.Oja Kodar, Welles' longtime companion & collaborator, takes the viewer through this previously unseen body of work & gives a picture of the filmmaker that is in marked contrast to the commonly held image of Welles as some kind of burnt-out megalomaniac.Underlying this film is a deep sadness at the fact that Orson Welles could have achieved so much more, had he been given the chance & not run into so much bad luck, but it is wonderful that some of his 'lost' films have been allowed to see the light of day.