Some more brief notes from the McBride book:
BLACK MAGIC, PRINCE OF FOXES, and THE BLACK ROSE-
Hokey medieval costume dramas, besotted with purple prose and overweighted with sterile pageantry- the kind of films that give Hollywood a bad name (all were made by American companies abroad)
TRENT'S LAST CASE - Workmanlike, but plodding
MAN IN THE SHADOW - Routine program picture, but Welles wrote his dialogue
ROOTS OF HEAVEN - Windy, Welles has brief cameo
FERRY TO HONG KONG - A new low in bufoonery. Fey and babylike, Welles looks like Porky Pig. A truly grotesque concoction.
CRACK IN THE MIRROR - An interesting storytelling stunt that doesn't quite come off.
DAVID AND GOLIATH, THE TARTARS, and MARCO THE MAGNIFICENT - The only challenge for Welles was to see how quickly he could bull his way through the roles and get out of town. His performances in these low-grade spectacles can best be described as minimal. In David and Goliath Welles changes his costumes more frequently then he changes his expression. In The Tartars, Welles never blinks his eyes, giving him a strangely mesmerising look. Welles told Geoffrey Land to use the same trick while playing a movie studio executive in TOSOTW, which tells you what Welles thinks of movie studio executives. Marco is probably the worst film with which Welles was ever associated.
THE V.I.P.s - pretty tedious stuff, except for the hamming by Welles, Margret Rutherford, and a few other character actors.
Two negligible walk-ons:
IS PARIS BURNING? - Atrociously bungled WWII spectacle
SAILOR FROM GIBRALTAR - Fetid melodrama
I'LL NEVER FORGET WHAT'S HIS NAME - Obnoxiously trendy. Welles did not want to do the dream sequence because he hated them ("I never read dream sequences in scripts. And I never watch them in films. When I see them coming, I walk out for a drink")
OEDIPUS THE KING - Lifeless pagaent just sits there as dead weight on the screen. Welles hardly moves a muscle, perhaps out of boredom.
THE SOUTHERN STAR - Amiable lightweight adventure film.
THE LAST ROMAN - A tired piece of cardboard hokum about warfare among the various segments of the fallen Roman Empire. Welles has disapointingly little to do.
START THE REVOLUTION WITHOUT ME - A foolish lampoon, with a cartoonish plot feebly imitative of The Corsican Brothers.
TWELVE PLUS ONE - A lackluster cameo by Welles, only vaguely connected with the rest of the film.
WATERLOO - Rod Stieger's hamming as Napoleon makes this film much funnier, unintentionally, then Start The Revolution Without Me labored so hard to be. Welles' performance is uninteresting.
THE KREMLIN LETTER - A bizarre film, elliptically plotted to the point of absurdity.
CATCH-22 - One of the most disappointingly botched screen adaptations of a major literary work, with disjointed sitcom skits amidst pretntiously hallucinatory action sequences. Welles wanted to direct the film, but was unable to obtain the rights.
A SAFE PLACE - Brought in domestic rentals of just $3,842 in it's first five years of release, making it the least-seen of all Welles' films.
TREASURE ISLAND - Probably the worst performance of his career, scarcely a word he says is intelligible.
NECROMANCY - Incoherent and silly
MALPERTUIS - Too long, repititious, and silly. Director Kumel seems quite serious about all this, but cannot quite bring it off.
VOYAGE OF THE DAMNED - Laborious, cameo-studded spectacle