Ok sorry, I dont know how i let this slip through my fingers. I was too occupied trying to watch Farranheit 9/11 and Spidy 2, to catch this but the Castro Theater, this week is holding a Tribute to Orson Welles. Here is the info as follows:
A TRIBUTE TO ORSON WELLES
“He inhaled legend—and changed our air. It is the greatest career in film and the most tragic.” —David Thomson
MONDAY–TUESDAY JUNE 28–29
F FOR FAKE
1:15, 5:15, 9:20
Skilled trickster Orson Welles, who’s own career started with fabricated radio newcasts, focuses this free-form essay documentary about fakery on notorious art forger Elmyr de Hory and his biographer Clifford Irving, who himself authored the fraudulent Howard Hughes autobiography. With Joseph Cotton, Paul Stewart, and Laurence Harvey appearing briefly as themselves, along with Welles’s longtime companion, Oja Kodar. “One of the most dazzling, equivocal and personal films ever made.” —Jack Kroll, Newsweek (1974) 85m New 35mm Print!
This stylistically groundbreaking film tracks the rise to power and solitary death of Hearst-like newspaper magnate Charles Foster Kane through intricate flashbacks from the disparate perspectives of those who knew him. Made when he was only 25 years old, Welles’s remarkable debut is hailed as one of the greatest and most influential films ever. Cinematography by Gregg Toland, music score by Bernard Herrmann, and Oscar-winning screenplay by Welles and Herman J. Mankiewicz. With Orson Welles, Joseph Cotton, Everett Sloane, Agnes Moorehead. (1941) 119m
WEDNESDAY–FRIDAY JUNE 30–JULY 2
THE MAGNIFICENT AMBERSONS
Daily: 1:00, 3:00, 5:00, 7:00, 9:10
Adapted from Booth Tarkington’s Pulitzer Prize-winning novel about social change in turn-of-the-century Indianapolis, Welles’s follow-up to Kane chronicles the decline of a wealthy family unwilling to change with the times. In the only feature where Welles doesn’t appear at all, his overwhelming presence is felt through his haunting narration. Featuring Mercury Theater regulars Joseph Cotten, Agnes Moorehead (who received the New York Film Critics Award for her performance), and Ray Collins along with RKO cowhand Tim Holt, retired silent star Dolores Costello, and then-unknown Anne Baxter. (1942) 88m New 35mm Print!
SATURDAY–SUNDAY JULY 3–4
Daily: 1:20, 5:10, 9:00
The mastermind of the Holocaust Franz Kindler, who effectively erased his identity, has been tracked by War Crimes Commissioner Edward G. Robinson to the small Connecticut town where highly esteemed college professor Welles seems to be living the perfect life with bride Loretta Young. Robinson’s only clue is the war criminal’s fascination with antique clocks…Directed by Welles. With Loretta Young, Orson Welles, Edward G. Robinson. (1946) 95m New 35mm Restoration!
TOUCH OF EVIL (1988 Restoration)
Daily: 3:10, 7:00
This high-noir adventure is a triumph of atmosphere, excitement and technique, centering on a clash of wills between a corrupt sheriff (Welles) and an idealistic Mexican narcotics official (Charlton Heston in his single inarguably great performance). The camera glides through the dark streets of a Mexican border town following the actors for blocks in a three-minute opening shot that’s been called “the greatest single shot ever put on film.” Stunningly photographed by Russell Metty, tinkling pianola score by Henry Mancini, unbilled cameos by Joseph Cotton and Mercedes McCambridge, and Marlene Dietrich, as the madam of a Mexican bordello who greets Welles with the classic line, “You’re a mess, honey. You been eating too much candy.” Reconstructed according to Welles’s notes in 1998. (1958) 111m.
MONDAY JULY 5
12:30, 4:45, 9:00
Brilliantly capturing the oppressive paranoia of Franz Kafka’s classic novel, this film tells the story of Joseph K, a young bank clerk who is arrested for an unknown crime. K’s world is circumscribed by a nightmare logic of labyrinthine dead ends and unexplained actions. Anthony Perkins is the personification of a Kafkaesque protagonist—his K is edgy, intelligent and doomed. “A startling cinematic equivalent of the author’s surreal vision.”—Entertainment Weekly. With Anthony Perkins, Jeanne Moreau, Romy Schneider, Elsa Martinelli and Welles himself, onscreen and dubbing eleven different characters. (1962) 118m
Hard-hitting fictionalized account of 1920s Chicago Leopold-Loeb thrill murder case. Welles as a flamboyant incarnation of the Clarence Darrow figure appears in a court cameo as the defense attorney of the two young law students who have murdered a boy “Because we #### well felt like doing it.” Directed by Richard Fleischer. Collective Cannes Best Actor Award to Welles, Dean Stockwell, and Bradford Dillman. (1959) 103m
TUESDAY JULY 6
MR ARKADIN (aka CONFIDENTIAL REPORT)
1:30, 5:15, 9:00
Claiming amnesia, famed tycoon (Welles) employs a young drifter (Robert Arden) to investigate his own past. The eccentric witnesses Arden digs up are mysteriously knocked off after providing clues. “Confidential Report is a film of frantic movement and fragmentation, a mad rush around a maze with no center and no exit, a Eurotrash Citizen Kane in reverse.”—Village Voice. With Orson Welles, Robert Arden, Michael Redgrave, Patricia Medina, Mischa Auer, Katrina Paxinou. (1955) 99m
THE LADY FROM SHANGHAI
Orson Welles took this story of a young Irish sailor in a sea of human sharks and infused it with poetry and beauty with soon-to-be ex-wife Rita Hayworth in the role of the sultry woman with evil on her mind, Everett Sloane as her rich, crippled husband, and Welles himself as the handsome young stranger who finds himself in the middle. Sex, sailing, and a rigged murder trial ensue, culminating in the legendary shootout in San Francisco’s no longer existent Playland at the Beach hall of mirrors—one of the most famous climaxes in movie history. Featuring Errol Flynn’s yacht in the seagoing scenes. Cinematography by Charles Lawton, Jr. Based on the novel by Sherwood King; scripted and produced by Welles. (1948) 87m New 35mm Print!
WEDNESDAY–FRIDAY JULY 7–9
THE THIRD MAN
Daily: 7:00, 9:15 / Wednesday: 2:00, 4:30, 7:00, 9:15
Pulp writer Holly Martins (Joseph Cotten) is lured to crime-riddled post-war Vienna by his friend Harry Lime (the quintessential Welles role), only to find that Lime has mysteriously disappeared. Graham Greene’s noir tale gets pitch-perfect treatment by director Carol Reed, with Anton Karas’s zither score a superb complement. The only film on both the American Film Institute and the British Film Institute’s Top 100! “One great scene after another! One great shot after another! I’ve seen it 50 times and it’s still magic!”—Roger Ebert. Directed by Carol Reed. With Welles, Cotten, Alida Valli, Trevor Howard (1949) 104m New 35mm Print!
We have missed Kane and F for Fake. I was dissapointed to miss the new print of Fake, but I am running out the door to catch Ambersons now as we speak. If anyone is going to attend any of the screenings and would like to meet up, send me a personal message and we'll work something out.