Dear Sir Bygber and mteal: You are quite right about TREASURE ISLAND. I might note that Robert Louis Stevenson's Treasure Island had been a childhood favorite of Welles, and that he never entirely abandoned the loves of that time. His mentor, "Skipper" Hill, encouraged him to bring out editions of Shakespeare and to encourage reading classics among the young. About a third of the Mercury Theater's stage audiences were students and teachers, rare in that day. When Welles brought the Mercury to Radio, partly to finance further stage productions of Shakespeare (one was to be Five Kings, the basis of CHIMES AT MIDNIGHT), his first choice was an adaptation of Treasure Island. At the last minute, he switched to another surefire favorite, Dracula, but "Treasure Island" was the second Mercury Theater on the Air production, and one of the best.
It is fitting then that Welles should make a deal, according to evil David Thomson, with the original Spanish producer, Emiliano Piedra, to put up money in order to write, direct and star in TREASURE ISLAND, in 1964, while secretly shooting CHIMES AT MIDNIGHT. As Thomson would have it, the only real set built for CHIMES . . . was The Admiral Benbow Inn, which doubled as Mistress Quickly's tavern. By the time, CHIMES AT MIDNIGHT was complete, Piedra had caught on. He is listed as a producer of the latter film. TREASURE . . . languished until it fell into the always fatal hands of Harry Alan Towers, who had it completed under the guidance of John Hough, in 1971.
So it seems that TREASURE ISLAND is definitely a Category 3 Welles' project.
[Might note that Charlton Heston, a figure mentioned occasionally in these pages, turned in one of his last good performance as Long John Silver in a TV production of TREASURE ISLAND (1990), directed by his son, Fraser Heston.]
I might as well throw in LAST EXIT (1962) as a possible Category 2, definitely Category 3. Also John Huston's THE BIBLE (1966).