Hadji: With due respect, my interest and experience in the work of Orson Welles now stretches back nearly seventy years. I'm afraid that I'm too old "to get over it."
Tony: Thank you for that link.
You know, Rossano Brazzi, in the early 1970's, was involved in the huge scandal which Francis Ford Coppola used as a matrix for his GODFATHER III. Brazzi, though he continued to work, was never after the international star he had been in the late 1950's and 1960's. That may explain why Welles handled him as he did in "Viva Italia" (which admittedly, I have not seen).
I like your idea about the attractive eccentrities of Welles' later TV work. It may be that it is TV which separates your world and mine. To me, CITIZEN KANE, THE MAGNIFICENT AMBERSON (God, what a Hollywood ending Koerner saddled him with), THE STRANGER, or THE LADY FROM SHANGHAI, on first sight, in a motion picture theater, when Hollywood was the World Standard for motion pictures, was a startlingly original experience.
To see the TV films is interesting, but because few were seen, in their time, on American Network TV, most of those I've seen, aside from Welles' intimate style of narration, are not so different than many we could see today. [I remember my English girlfriend, Rosemary Hayward, telling me how all her friends marked the time for The Orson Welles' Sketchbook, then premiering on the BBC, in the early 1950's.] Because, as Dexyman suggests, these "tabloid shows" were not seen fresh, they have lost some of their currency.