Just
imagine what might have been if Orson Welles had worked in the digital era.
Probably no other filmmakers left behind so many unfinished yet potentially
great films. As his latest video-biographer Chuck Workman documents, Welles had
no shortage of work ethic. It was simply a lack of everything else,
particularly money. You may have heard this story before, but Workman
illustrates the great auteur’s rise and fall with a wealth of striking visuals
and many rarely seen archival interviews. Welles gets the full Workman treatment
in Magician: the Astonishing Life &
Work of Orson Welles (trailer
here), which
opens this Wednesday in New York.
Welles
was a precocious but never small child. Evidently, in the Welles family,
children had to be interesting performers, or they were banished to the nursery
to be boring in private. Obviously, Master Orson was not about to be shunted
away. In a departure from many DVD-behind-the-scenes-extras, Workman patiently
invests a bit of time up-front on Welles’ formative years in Woodstock, Illinois,
where he honed his craft at the Todd School and the local Woodstock Theatre,
whose main stage has since been renamed in Welles in honor. Workman takes the
audience there and it does indeed look like fitting launching pad for Comet
Welles—an intimate yet classy space that could fire a young genius’s
imagination.
By
the time Welles hit the New York theater world, he was practically a fully
formed master. Workman breezes through his early Broadway triumphs and radio
superstardom, essentially using the feature films to island-hop his way through
Welles career. At this point, the film starts to feel very familiar to anyone
with a casual knowledge of Welles’ life and career. Yes, Citizen Kane is a masterpiece and The Magnificent Ambersons sort of is too, but according to Welles
RKO cut out the most important parts. However, Workman includes some fascinating
interview excerpts with the late Oscar winning Robert Wise, justifying the cuts
he made at the studio’s behest.
Magician also incorporates
tantalizing glimpses of films Welles started but never completed, such as The Deep, Don Quixote, and the
technically finished but now mostly lost Merchant
of Venice. Frankly, this is some of the best material Workman collects, hinting
at what might have been. It nicely compliments Workman’s full visual portrait of
the artist, which also directly addresses his larger than life celebrity
status, as seen through clips of Welles guest appearances on I Love Lucy, The Muppet Show, and
various chat shows and commercials.
There
are not a lot of surprises in Magician.
Frankly, you really have to stretch to find any new material at all in the
film. Still, Workman and company make a convincing defense of Welles’
unfinished oeuvre, arguing he was committed enough to start production, whereas
most would-be filmmakers accept defeat in the development or pre-production
stages.
Magician certainly makes
you want to watch all of Welles’ films again, including the ones that we can’t,
which means it probably accomplishes its goals, but it never feels as fresh as Visionaries, Workman’s relatively recent
(stylistically traditional) survey of avant-garde filmmaking. Recommended for
Welles diehards looking for something to tide them over until the long rumored
release of The Other Side of the Wind (promised
for the auteur’s centennial this coming May), Magician opens Wednesday (12/10) in New York, at the Lincoln Plaza
Cinema.