Giant of cinema, the embodiment of creation, Orson Welles is the man who reinvents the film language at 24-years old. Who is hidding behind this impressive figure? This movie is a journey towards the man behind the legend. It drags us into the labyrinth with multiple mirrors that Welles erases and recreates at the mercy of his imagination.Read More »
Synopsis:
A gypsy man discovers that he is a natural hypnotist, and decides to make a fortune off of his ability. When he meets the Viscount who had ordered the execution of his parents and his own whipping and blinding (the latter from which he escaped), he uses his abilities to gain vengeance. Of help to him is a woman who has a startling resemblance to Marie Antoinette. Soon, his lust for power and his love for the woman gain control of him.Read More »
An unassuming office worker is arrested and stands trial, but he is never made aware of his charges.Read More »
Anthony Perkins, a young sculptor with a weird penchant for waking up in strange hotels with his memory wiped clean and bloodied hands, invites a former professor (Michel Piccoli) to the Gatsby-like provincial manor presided over by his powerful tycoon father (Orson Welles). Welcomed by Welles’ young wife (Marlene Jobert), Piccoli soon finds a nest of rats beneath the bourgeoisie voluptuousness — a clan bound in a circle of illicit romance, blackmail, faked burglaries and, of course, murder.Read More »
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Who directed Jane Eyre? The credits clearly state Robert Stevenson, but a cult of sorts has sprung up over the decades since the film’s 1943 release to claim that it was really helmed—in spirit if not in letter-by its star Orson Welles. Stevenson’s wife and kids argue quite vociferously to the contrary, and certainly the public record, while tantalizingly ambiguous about what (if anything) Welles contributed, does not seem to support this thesis. But there is simply no denying that there is a huge Wellesian influence looming over the film like one of its intrinsically Gothic shadows. Stevens and cinematographer George Barnes often frame things in much the same way Welles and his cinematographer Gregg Toland did in Citizen Kane or how Welles and Stanley Cortez approached The Magnificent Ambersons. Read More »
IMDB wrote:
What does it take to make a good magician? A bunch of good illusions and a lot of charisma. Orson Welles knows a few tricks, and his charisma is incredible! Did you ever feel an actor is pushing you into your seat only by his sheer performance? Welles did so, especially during his first trick.Read More »
The Man Who Saw Tomorrow is a 1981 documentary-style movie about the predictions of French astrologer and physician Michel de Notredame Nostradamus.
The Man Who Saw Tomorrow is narrated (one might say “hosted”) by Orson Welles. The film depicts many of Nostradamus’ predictions for the modern world, as interpreted by the many linguistic scholars who have translated his works. In addition, some biographical information is provided about Nostradamus, including his work as a physician during the plagues which swept Europe in the 1500s.Read More »
Directed by Hollywood legend Orson Welles (Citizen Kane, The Stranger, The Lady from Shanghai), Touch of Evil is a film noir masterpiece whose Hollywood backstory is as unforgettable as the movie itself. Starring Charlton Heston (The Big Country, Ben-Hur), Janet Leigh (The Manchurian Candidate, Psycho) and Welles himself, this dark portrait of corruption and morally compromised obsessions tells the story of a crooked police chief who frames a Mexican youth as part of an intricate criminal plot. With its iconic ticking-bomb opening shot, shadowy cinematography by Russell Metty (Spartacus), evocative score by Henry Mancini (Arabesque) and memorable supporting turns by Akim Tamiroff (The General Died at Dawn) and Marlene Dietrich (Desire), Touch of Evil is a stylistic triumph that stands the test of time.Read More »
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This film has been more talked about than seen since its premiere at the Cannes Film Festival in 1972, when it was shown in a hastily shortened English-language version which distributors subsequently hacked down even further. Now the Belgium Cinémathèque Royale have worked with Kümel (best known for the lesbian vampire classic Daughters of Darkness) to produce a definitive ‘director’s cut’, Dutch-language version that runs for almost two hours – longer than has ever been seen before, and giving its labyrinthine story far greater clarity and depth.Read More »