mteal wrote:...I left in one of the studio's redone scenes in the 4th part (Fanny at the boiler), which I kind of regret doing now. I'll probably change that if I ever do another draft of the TMA project...
tonyw wrote:Also, the final image of the new version shows skyscrapers in a drawn storyboard. As good as the image appears to emphasize the dominance of urban modernity, I'm doubtful as to whether skyscrapers would have been built in most American cities in the teens. Does not the original script mention Eugene leaving in darkness?
Overall, Mike, this was a very good reconstruction and I look forward to the time I teach Welles again so I can use both reconstructions in my class that will supplement each other until the next attempt is made.
The March 12th, 1942 cutting continuity describes "tall buildings" in the original final shot of AMBERSONS along with visible traffic as Eugene's car leaves the boarding house and turns onto a cross street. Joseph McBride has said that Peter Bogdanovich showed him a frame enlargement of this final matte shot in 1970 (sadly, this image seems to have been lost to the public) and he describes seeing dark smoke wafting through the buildings and an elevated train passing in the background. This corresponds to Welles' own comments to Bogdanovich that an elevated train was heard on the soundtrack during the boarding house scene.
mteal wrote:You’re probably right about the Boiler scene Roger, but it still might be interesting to see how it would play with a recreated first half. With all the back and forth memos between Welles and RKO that survive, I don’t recall seeing any that deal specifically with that scene. I’d like to read what Welles’s reaction was when he found out they were reshooting part of it, with Moorehead’s consent.
mteal wrote:That sounds like an amazing image, and was probably fairly expensive to create. Hard to imagine why RKO couldn’t think of some way to use it in the recut version.
Welles did comment on this in later interviews when he said something to the effect of "the whole measure of the scene would have flayed you, she was that good", meaning he felt the impact of Moorehead's performance was diminished by re-shooting the first half.
a final shot showing a city that has "befouled itself" could only be seen as melancholy...similar to the black smoke rising from Xanadu at the end of KANE.
I had one radical feminist who just wanted to concentrate on that awful TV mini-series.
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