Callow Vol. II - Callow Vol. II: the release of the year?

[Tony]

Here's a URL to the second volume of Simon Callow's opus maximus on OW, which is posted on Amazon.UK; it's got a terrific cover, and a fascinating synopsis; the book is due on May 4th, is 656 pages, and covers only the years from Kane to Macbeth: 1941 to 1948; this could be the Welles release of the year!

http://www.amazon.co.uk/exec....details

[Glenn Anders]

Tony: I liked Callow's scholarship in The Road to Xanadu, in particular the section describing the trip around the World that Welles took with his father, but Callow's general attitude toward his subject suggested to me that Welles from his earliest days was responsible for his own faillure, an inevitable failure. If Welles could not be given much credit for CITIZEN KANE, which is what I took from the book, I fail to see where the road from Xanadu could lead anywhere but down.

The synopsis does look intriguing, but this line rankles: "Finally, in 1947, he left America for Europe where for the best part of twenty years he lived in self-imposed exile . . . ." That idea may not be Mr. Callow's or his intention, but if it is anywhere near his conclusion, what would Welles have done otherwise?

CITIZEN KANE was nearly destroyed before he could show his picture to the critics. Welles' THE MAGNIFICENT AMBERSONS was torn apart and nailed together again, then left on the lower half of double bills. His mission to South America at the behest of the State Department was betrayed. He was boycotted by the Hearst papers for having made CITIZEN KANE. Various investigations into his personal relationships and political activities were carried on by J. Edgar Hoover. Not only did he run into trouble staging the Broadway production of Native Son, and its subsequent national road show schedule, but his intervention in the significant Isaac Woodward beating incident got THE STRANGER banned in the South, and standing up for Latinos in "The Sleepy Lagoon Case" did him no good in Hollywood, nor in California generally. The rejection of Around the World in 80 Days, his collaboration with Cole Porter -- far ahead of its time as a concept for Musical Theater -- all but ended his top of the line Broadway career. And MACBETH, made in 21 days for pocket change, was taken away from him, and his brilliant innovations shorn from the result.

He spent the majority of the years 1941-1947 in the United States, fighting artistically, socially and politically against the forces which have now regained control of the country. No doubt, on the Eve of Joe McCarthy, Welles wisely headed for Europe, but not into "self-imposed exile." He was driven from this country as surely as Paul Robson. Otherwise, he would have ended up like Everett Sloan, John Garfield or dozens of other lesser talents, whose careers were marred, ended or left unfulfilled.

No doubt Orson Welles had a difficult temprement, but he was heart and soul for having America live up to her promise and her ideals. Most of his work was toward those ends, often at his own expense. Is the general line, then, that the story of Welles' life is the creation of a European?

I shall read the book with interest, but the first volume of Callow's biography put such a curse on the childhood and youth of Orson Welles that it will be a wonder if much positive can be said about his critically and politically battered young manhood.

But thanks, Tony, for bringing this publishing date to our attention.

Glenn

[tonyw]

I think we should all read this book before coming to conclusions. But, on the basis of Vol. 1, I doubt whether it will rise above the tone of the vicious nature of character assassination which marks the earlier novel.

Vol. 1 contained some interesting items but it felt very much like the work of a lesser talent seeking to tear down somebody whose achivements were much more monumental. Nothing that Callow has written or even acted in so far can come anywhere near to what Welles achieved in much more difficult circumstances. Clinton Heylin has already started the ball rolling to combat the negative assaults by Kael, Carringer, Higham, Thomson, and many others to contribute to an anti-Welles mythology that haunted him in the last 15 years of his life and continues to affect his legacy today. Fortunately, things are changing slowly with the various reconstructions going on in Criteriuon. Munich, and elsewhere, but I doubt whether Callow will change from his previous assessment - of kicking a man and his achievements when he has been dead for the last 20 years. at least, Welles was alive when Kael wrote that appalling article, as well as those who worked with him at the time of KANE, people she never even bothered to consult. This is another example of Ford's axiom from THE MAN WHO SHOT LIBERTY VALANCE, "When the truth conflicts with the legend, print the legend. Unfortunately, Callow may just continue to contribute to a negative legend which has affected Welles as much today as before.

[Glenn Anders]

Well and succinctly said, tonyw.

Glenn

[Roger Ryan]

A minor point perhaps, but that cover photo (as wonderful as it is) seems to date from the early 50s judging from Welles' appearance, right? If so, it's a odd choice for a book covering the years 1941 - 1947. I know the women in the picture suggest Brazil, 1942, but Welles' image doesn't.

[Store Hadji]

I expect volume 2 to be like volume 1 - exhaustively researched, exceptionally well-written and very snotty. Still, I'll get it for the library.

[Glenn Anders]

Perhaps we're being unfair and unprofessional, but are we reaching concensus?

[Harvey Chartrand]

I can't wait to read Simon Callow's book, even if it is less than flattering. I'm sure it is filled with factoids that even the most ardent Welles fan is unaware of.

No, that photo of Welles was taken in Rio in 1943. After his star turn in CITIZEN KANE, Welles gained an extraordinary amount of weight, foreshadowing the grossly obese figure he would later become. Just look at any image of Welles on the set of THE MAGNIFICENT AMBERSONS and you'll see he allowed himself to become quite hefty.

Later, with the help of appetite suppressants, Welles would lose all that baby fat to play the romantic lead in JANE EYRE.

His lookalike Laird Cregar did the same thing (crash diet and amphetamines) and died of heart failure at age 28.

[Roger Ryan]

No, that photo of Welles was taken in Rio in 1943. After his star turn in CITIZEN KANE, Welles gained an extraordinary amount of weight, foreshadowing the grossly obese figure he would later become. Just look at any image of Welles on the set of THE MAGNIFICENT AMBERSONS and you'll see he allowed himself to become quite hefty.

Later, with the help of appetite suppressants, Welles would lose all that baby fat to play the romantic lead in JANE EYRE.

His lookalike Laird Cregar did the same thing (crash diet and amphetamines) and died of heart failure at age 28.

I wasn't really referring to the weight as much as the general look of Welles' face, the hairline and lack of moustache (which I believe he retained throughout his stay in Brazil). Compared to other photos taken during the 1942/43 period, this one seemed a little out of place. Again, no big deal.

Despite its tone, I enjoyed "Road To Xanadu" and I appreciate the fact that this second volume concentrates on 7 years in Welles' life. As long as Callow doesn't sink to the depths of Thomson, I'll probably be fine with it.

[Harvey Chartrand]

Upon closer inspection, the photo could be of Orson Welles whooping it up in Spain in the fifties, or maybe it was taken during one of his evening magic shows in Las Vegas circa 1957.
However, Welles appears to be wearing a Nehru jacket, fashionable in the mid-sixties.

[Tony]

A friend of mine who is Brazilian is 99% sure that the 2 women in the picture with Welles are indeed Brazilliian: to her they look Brazillian and she notes they are wearing outfits called "Bahianas" (which include the bandanas, the blouses and the skirts) which are from Bahia, which is a northern state of Brazil. However, my friend points out that the women could well be from Rio, and be wearing costumes from Bahia for a celebration, perhaps Carnival. But, she says there is a 1% chance they are Cuban.

So now the possibilities are:

a. This is a photo from Welle's 1942 Brazilliian trip.
b. This is a photo from a later Braziliian trip.
c. This is a photo from a Cuban trip.

So, the questions are: did Welles ever go to Cuba, and did he ever return to Brazil? Does anyone know?

And would Callow research a project for 10 years and misidentify a photo?

[Tony]

Here's a link to a photo currently in auction on eBay; it looks very similar to the photo on Callow's opus 2: Welles's face looks the same, and it looks to be the same white suit; and it is being sold from Rio. But who's that with him?

This little photo mystery continues...

[url=http://cgi.ebay.com/Orson-Welles-vintage-Real-Photo-hand-signed-w-COA_W0QQitemZ7598183946QQcategoryZ32988QQrdZ

1QQcmdZViewItem#ebayphotohosting]http://cgi.ebay.com/Orson-W....hosting[/url]

[dmolson]

Thats Welles with Claudette Colbert... which should help place the photo.

[Tony]

dMolson:

I was thinking that that was Claudette too- but she looks to be in her 40s, so when would that put the picture? For sure it would not be from the 1942 Brazilian trip; or is it a Brazilian woman who looks like Colbert?

Maybe the cover will be changed by the time the book appears on May 4th!

[Glenn Anders]

I should say that the signature might be Claudette Colbert's, too.

May I add a fourth possibility for the setting of the photos:

Remember that, upon his return from South America, and going back on American Radio in such shows as Horizons Unlimited and the Almanac, he continued to focus on Brazil, a number of times for instance, giving spots to Carmen Miranda.

Can these photos be of publicity or party occasions connected with one or more of these programs on radio?

Glenn