One Man Band - Bogdanovich version

[O J Radok]

Jeff, I remember you mentioning a press cassette of Bogdanovich's cut of Orson Welles: The One Man Band a while ago, but I forgot if you compared it to the original version or not (and now can't find the posts). Also, where did you get the viewing cassette? (I want one!)

Isn't it strange that we have to deal with different versions and re-cuts even with a new documentary *on* Welles? Also, I'm sure that the makers of the original documentary put their soul into what they were doing; wonder what they think of the new version -- and if someone informed them at all...

[Jeff Wilson]

No, I have only been told about the new version via an informant. I don't have a copy myself yet, and would certainly like one. I'd have to dig up the original info, but it seemed to have a fair amount of differences. No video release here looks likely anytime soon, so this will have to make its way through the underground grapevine as well, like the original. It is quite ironic that we have duelling cuts of the documentary as well, though.

[Peter Tonguette]

Forgive me if this has been discussed already, but why exactly did Showtime pull the re-edited "One Man Band" last May? I assume it was due to rights issues, but they didn't give any reason when I e-mailed them regarding the cancellation.

Peter Tonguette

[ToddBaesen]

-

The Bogdanovich ONE MAN BAND is indeed a vast improvement, and is quite marvelous. Bogdanovich narrates and explains exactly what footage is being shown. The German version just presented excerpts, often without explaining what we were looking at, which could be very confusing. For instance, Welles recites passages from MOBY DICK, which are not from his famous Television version of 1955, but a 1973 version.

It was pulled because of Beatrice Welles objecting to the use of certain clips which she would receive no payment for.


ORSON WELLES-THE ONE-MAN BAND

Showtime's New version contains excerpts from:

DON QUIXOTE (1959)
THE DEEP (1968)
CHURCHILL
SWEETS IN VIENNA (1968)
THE MERCHANT OF VENICE (1969)
STATELY HOMES/LORD OF THE MANOR (1969)
SWINGING LONDON (1969)
THE ONE-MAN BAND (1969)
MOBY DICK (1973)
F FOR FAKE TRAILER (1975)
THE OTHER SIDE OF THE WIND (1976)
THE ORSON WELLES SHOW (1978)
THE MAGIC SHOW (1979)
FILMING THE TRIAL (1981)
THE DREAMERS (1982)

[jaime marzol]

but where is this new version available?

[ToddBaesen]

Where is ONE MAN BAND available?

Eh, There's the rub, because it's not available, thanks to Orson Welles greedy daughter. Because of Beatrice there is
so much of the great man's legacy that unfortunately, will remain largely unseen.

Showtime mailed out review copies to press outlets, which is how I got mine. But of course, thanks to Beatrice, nobody else will get to see it.

Ironically, in his will, Welles left all his unfinished works with Oja Kodar, and stipulated that if anyone was to contest that, they were to get NOTHING. Of his films, he left only OTHELLO to his wife, Palo Mori. To Beatrice he left only a small bequest of $10,000. (Welles knew the plot of KING LEAR, and wasn't about to give Beatrice the rights to anything!).

Unfornunately, not long after Welles died, Palo Mori died in a car crash in Las Vegas, ironically the day before she was going to sign a settlement agreement with Oja Kodar.

After Palo Mori died, the rights to her half of the Welles estate reverted to her daughter, Beatrice, who has contested everything that Oja legally was granted clear title to by Welles in his will.

So even though,under the terms of Welles will Beatrice should have been dis-inheirited, she obviously got herself a good lawyer, and somehow has become the guardian of the Welles Estate.

[Peter Tonguette]

Thanks for the (albeit depressing) run-down, Todd.

You'd think Ms. Welles would have a vested personal interest in making her father's work available to the public. It's a kind of tragic irony that even years after his death, his work still faces huge distribution/completion obstacles.

Peter

[Cole]

I also want to thank you for posting that information, Todd. Maybe these details are provided in a book I haven’t read about Welles, but I didn’t know anything about this until I read your post.

The fact that Beatrice ended up getting a big interest in Welles’ property is no big shocker, despite his attempt to disinherit her and the insertion of a “no contest” provision in his will. As much as Welles may have wanted to give everything to Oja Kodar, and wanted to disinherit Beatrice, there was one person he couldn’t disinherit – his wife, Paola. You can disinherit your kids, but you can’t disinherit your spouse. Since Orson predeceased Paola, she had a right to claim a chunk of his estate notwithstanding anything Orson may have written into his will. And since it sounds like Paola gave everything she had (or a large portion of it) to Beatrice, Beatrice in effect was able to stand in the shoes of Paola and assert her claim to Orson’s estate. Such is life. It makes me wonder why Orson didn’t divorce and settle his estate with Paola before he died. He didn’t think he was going to outlive Paola did he? That would have solved a lot of these problems. Beatrice would have been left out in the cold.

[Obssessed_with_Orson]

are you sure it was an accident. mybe it wasn't as much as you think. she was on her way to sign an agreement. maybe the person she was going to see didn't like the agreement.

i don't know.

bye now

[Obssessed_with_Orson]

unlike jaime, who wants the new version. i want any version

[jaime marzol]

i think obssessed_with_orson is right. paola mori could have been murdered and it was made to look like an accident.

now that i have publicly agreed to this covert theory i will have to watch my step. constantly check my rear view mirror. don't walk near alleys. i will be a hunted man.

natalie:
i'll trade you a copy of ONE MAN BAND. send me a list of your films. and if i get picked up and questioned about the murder , i swear i will rat you out.