I agree it's far-out, Glenn, but I think some of the observations are interesting and thought-provoking; these statements work more as poetry, and evoke ideas that perhaps otherwise could not be spoken of:
"Citizen Kane: ...The film begins with a death - the cessation of biosurvival. Kane reincarnates as all of us, the audience. Kane returns to life, elusive, invisible like the Shadow."
Kane does start with a death, and there is something I react to in the idea that we are all reincarnated in his reincarnation; perhaps this is a Christian concept in code, hence the films power. But Kane is no Christ, and his name is a homonym for the killer of Abel. Certainly there is a deep identification on the audience's part with Kane, and the futility of his fighting against his fate.
"The Magnificent Ambersons - we all get our comeuppance in this sharkish reality."
Similar to Kane, the audience has a guilty (in the actual sense) identification with the sins of Georgie; when he is on his knees, praying and begging for forgiveness, and so are we.
"The Lady from Shanghai - everything gets turned upside down in this romantic mindblower. The shattering of the first dimension in a hall of mirrors. Alice begins to grow and a lawyer cross-examines himself."
Here the writer has honed in on the absurdist aspect of Shanghai, the Lewis Carroll aspect of this story where nothing is as it seems, and there is a hall of mirrors and a lawyer does cross-examine himself, and...is Michael "Alice"?
"Touch of Evil - How does one enforce the law? How to maintain society - reason versus intuition, crossing borders."
Reason versus intuition: I've watched this film many times since I was 10, and never have I thought about it in these terms: Vargas's somewhat banal "reason" and literalism as regards the law, versus Quinlan's intuition, the latter of which quite probably catches more criminals. Quinlan says "All lawyers care about is the law", and Vargas reponds with "The job of a cop is to uphold the law"" to which Quinlan reponds "I don't know about you, but when a murderer is loose, I intend to catch him". I know Welles didn't support Quinlan's point of view, at least not consciously, but that doesn't mean he didn't on a deeper level as betrayed by his performance; of course, Welles debated this in his '58 interview with Bazin, where the latter maintained that the ordinary rules should not apply to persons of genius.
"The Trial - The end of linear-terrestrial mind-body."
Well, if any film displays the "end of linear-terrestrial mind-body", it's The Trial; in fact, I think the difficulty for most viewers is precisely this, the inanely topsy-turvy world that Welles creates in that train station of hell.
"The Chimes at Midnight - The three stages of the fourth dimension: the playboy Prince Hal, the responsible King Henry IV, the aging Falstaff, who both hints of a return to the infantile and points towards the fifth dimension...Hamlet survives and goes to Dublin, then grows old and looks at Universe with silent lonely eyes."
I have always thought of Falstaff and King Henry as two fathers, but here the writer thinks of them as the 3 stages of life: the irresponsible youth, the boringly practical middle-aged (Welles called middle-age the "enemy of art") and the return to joy and spontaneity of old-age. Here Falstaff joins the young Henry with his older self, possibly affecting how he will fulfill his kingly duty. The Hamlet idea Welles also thought about, as he once said tha Falstaff could be the older Hamlet, who didn't die but secretly moved to England.
"The Immortal Story - Love bought and sold. Humanity takes responsibility for Universe, seeking the triumph of love."
The Immortal Story may well be about love: Clay has never had any, and may be trying to find some, in a strange and clumsy way. Are not the "lusty jumping jacks" mere stand-ins in Clay's mind for himself and a young lover? So only on the surface is Immortal about buying and control and revenge: Clay may represent humanity, "taking responsibility...and seeking the triumph of love".
"F for Fake, the deconstruction of our society - experts, selling out, simply selling. F for Falstaff, oops, Fake. The Cosmic Fun House. Magick in Theory and Practice. A return to wealth, to the Trick Top Hat."
Of course, postmodernism and deconstruction were being formulated in the late sixties and early seventies: Welles was deconstructing art, cinema, architecture, magic...he's pricking a lot of balloons: "It's pretty, but is it art?" "What's in a name?" And he is, in a way, Falstaff, and we are Hals, listening and learning, as he takes the stuffing out of authorship, experts, posterity, and authenticity, in a whirling dervish of humour and magic.
So, while this is far-out stuff, I find it to be stimulating in unique ways...or maybe I'm just far-out.