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Document Citation Title The cinema of Orson Welles Author(s) Peter Bogdanovich Source Museum of Modern Art (New York, N.Y.) Date Type monograph Language English Pagination No. of Pages 18 Subjects Welles, Orson (1915-1985), Kenosha, Wisconsin, United States Film Subjects The magnificent Ambersons, Welles, Orson, 1942 Othello, Welles, Orson, 1952 The lady from Shanghai, Welles, Orson, 1948 The stranger, Welles, Orson, 1946 Mr. Arkadin, Welles, Orson, 1955 Touch of evil, Welles, Orson, 1958 Citizen Kane, Welles, Orson, 1941 Macbeth, Welles, Orson, 1948 Journey into fear, Welles, Orson, 1942 WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code) WARNING: This material may be protected by copyright law (Title 17 U.S. Code).

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Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles ..
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Oconnor Conversations Spread
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Touch of Evil-5
“TOUCH OF EVIL” (1958) Screening Salutes Production Designer Robert Clatworthy and a Film Noir Classic Art Directors Guild Film Society and the American Cinematheque Present Screening and Special Panel Sunday, June 30, 5:30 P.M. at the Aero Theatre in Santa Monica Sponsored by The Hollywood Reporter LOS ANGELES, June 6, 2013 — The Art Directors Guild (ADG) Film Society and American Cinematheque will screen the restored American version of Orson Welles’ Touch of Evil (1958), considered by many to be the last of the great film noir movies made in Hollywood, on Sunday, June 30, at the Aero Theatre in Santa Monica. Touch of Evil is a visually arresting masterpiece directed by Orson Welles and starring Welles, Charlton Heston, Janet Leigh, and Marlene Dietrich. The program, sponsored by The Hollywood Reporter, will honor the film’s legendary Oscar®-winning Production Designer Robert Clatworthy, who is a 2013 ADG Hall of Fame Inductee, for his major design contributions to this and many highly influential films. The post film panel will explore Clatworthy’s design legacy and contributions to the classic Universal Studios production style during the 1950’s – 60’s by sharing clips from Written on the Wind (1956) and That Touch of Mink (1962). ADG Film Society co-chair Thomas A. Walsh will moderate the panel discussion. “The version of Touch of Evil that is being presented is the restored American version,” says Walsh. “Orsen Welles did not have final cut on his film so this reconstruction was an attempt to restore it based on Welles’ copious notes contained in a letter to the Studio revealing his artistic intent.
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Zum 100. Geburtstag von Orson Welles n o D n o l ’ S e l l e W n o S R o u z n e t i e b r a h e r D n e d i e b r a d o K a j o d n u s e l l e W n o s r o Die verborgenen Seiten im Werk Dimension. Das war der Moment, wo ich entweder von Orson Welles Selbstmord begehen, mein Scheitern eingestehen oder Als ich im Jahr von Orson Welles’ 100. Geburtstag (am einfach unbekümmert weitermachen konnte, und ich 6. Mai) und seinem 30. Todestag (am 10. Oktober) zu - wählte Letzteres, getreu der berühmten Replik des See - sagte, seine Biografie für meinen französischen Verle - manns in THE LADy FROM SHANGHAI: »When I start ger Éditions Bernard de Fallois zu schreiben, wurde out to make a fool of myself, there’s very little can stop meine Welles-Bewunderung nur noch von meiner Un - me.« s e l bekümmertheit übertroffen. Eine starke Erinnerung an Ich reiste nach Kroatien, um dort Orson Welles’ letzte l e seine Radiosendung »Krieg der Welten« und die fol - Lebensgefährtin und Mitarbeiterin zu treffen: Oja Kodar. W n gende Panik (die völlig anders ablief, als es heute er - Schon begann die getrocknete Blume des Herbariums o s r zählt wird), einige verloren geglaubte, wiedergefundene einen zarten Duft abzugeben, der meine Nase er - O Filme (wie das Material von TOO MUCH JOHNSON, das reichte. Der Mensch Orson Welles nahm langsam kon - 74 die Retrospektive eröffnet), selbstverständlich die Ehr - krete Konturen an: Ich war am Meer, das er betrachtet furcht vor CITIZEN KANE, den ich zu meiner Über - hatte, sah an den Wänden der Villa seine Zeichnungen raschung nur ungefähr im Gedächtnis hatte, und einige und sprach mit der Frau, die er geliebt hatte.
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