Glad to hear Roger Ryan and Store Hadji get mentions in the book, both well-deserved. BTW Keats, thanks for the link to the Voodoo Macbeth comic book. Great stuff - I wonder if it's too late to reteam Christian McKay and Richard Linklater for a "prequel" to Me and Orson Welles.
Also, as much as I hate to agree with Thomson, I do think he's correct that Callow's trilogy could become the definitive biography on Welles, with all due respect to Leaming and Brady.
Best books on Orson Welles?
Re: Best books on Orson Welles?
by Alan Brody » Tue Oct 27, 2009 11:06 am
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Re: Best books on Orson Welles?
by Alfred Willmore » Thu Oct 29, 2009 12:24 pm
Keats,
Are you accusing me of being Todd Baeson?
Are you accusing me of being Todd Baeson?
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Re: Best books on Orson Welles?
by mido505 » Fri Oct 30, 2009 12:38 am
I have just finished IN MY FATHER'S SHADOW. I don't have the time now to devote myself to a full explication of this extraordinary, beautiful, revealing, yet troubling work. But I want to say this, now. I have written some very brutal things about Oja Kodar in various threads on this board. I am still not sure that leaving Paola Mori for Oja Kodar was in Welles' best creative interest. The record speaks for itself. Ms. Feder, to her credit, has made me rethink this harsh opinion. On page 238 of Ms. Feder's remarkable memoir, she writes that, after Welle's death "I was beginning to swing my eyes away from the flawed human being who had disappeared into a box of ashes and to gaze instead at the solid treasure he had left behind." Flawed human being? There it is again; even the daughter who has given us perhaps the most sympathetic, balanced, and thoroughly human account of Welles falls back into the old artist/man dichotomy that has plagued Welles from the moment he captured the public's attention - great artist and flawed man, admire the work and excoriate the artist for his all-too-human failings or, if he is lucky, excuse them. Yet after reading Ms. Feder's account of her, and Welles' relationship with Oja, I think I can say with certainty that Oja would never have called Orson a flawed human being; such a notion would never have occured to her. She made no distinctions, she saw no dichotomy, for her there was no split between artist and man, there was no struggle, no stress, no strain. There was only Orson, and she loved him; she "got through to him" as Ms. Feder astutely puts it; she got him, period, unlike his myriad relatives, and collaborators, and wives, and children, and fans, and biographers; unlike David Thomson, and Charles Higham, and John Houseman, and Pauline Kael, and all the others who were let down because Welles couldn't be tamed, or limited, or shrunk down to their level. I've said before that Orson Wells was too much, too big, for most people. Well, he wasn't too big for Oja Kodar, and for that, God bless her...
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Re: Best books on Orson Welles?
by mido505 » Fri Oct 30, 2009 1:48 am
Keats:
Thank you for your astute response to my post. It's rather late here, and I am more than a bit...relaxed...as well as being unable to respond adequately to Ms. Feder's remarkable memoir...but please let me clarify that I did not mean to place Ms. Feder in the "excoriate" camp, along with the Thompsons and the Housemans and the Highams and the Kaels. Ms. Feder is far more interesting, and admirable, than that; she progresses, starting out in monotheistic admiration, then losing her faith, passing through a tempestuous agnosticism, then, having known both god and man, settling into a bifurcated worship of the god part before the time with Oja allows her to close the circle. I think this memoir is about that journey, and if I gave the impression that I believed that Ms. Feder had somehow got stuck along the path, my apologies. However, I believe that Ms. Feder might have got stuck, as have so many others, were it not for the time she spent with Oja Kodar. And that is to Oja's credit, and to Ms. Feder's, because Ms. Feder had the sense, and sensibility, to realize that Oja was a key...
Thank you for your astute response to my post. It's rather late here, and I am more than a bit...relaxed...as well as being unable to respond adequately to Ms. Feder's remarkable memoir...but please let me clarify that I did not mean to place Ms. Feder in the "excoriate" camp, along with the Thompsons and the Housemans and the Highams and the Kaels. Ms. Feder is far more interesting, and admirable, than that; she progresses, starting out in monotheistic admiration, then losing her faith, passing through a tempestuous agnosticism, then, having known both god and man, settling into a bifurcated worship of the god part before the time with Oja allows her to close the circle. I think this memoir is about that journey, and if I gave the impression that I believed that Ms. Feder had somehow got stuck along the path, my apologies. However, I believe that Ms. Feder might have got stuck, as have so many others, were it not for the time she spent with Oja Kodar. And that is to Oja's credit, and to Ms. Feder's, because Ms. Feder had the sense, and sensibility, to realize that Oja was a key...
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Re: Best books on Orson Welles?
by RayKelly » Fri Oct 30, 2009 9:39 am
New interview Chris Welles Feder:
A daughter's take on Orson Welles
By HILLEL ITALIE
AP National Writer
No posters or photographs of Orson Welles hang in the living room of his eldest daughter, Chris Welles Feder. His memory is preserved, imperfectly, through a shelf of books that Feder says have yet to capture her father's many-sided life.
"There are some excellent studies about him, but I feel that the Orson Welles I knew doesn't really exist in these books because many of the people who wrote them never got closer than a long distance phone call," she says.
Feder, author of the popular "Brain Quest" series for young people, may be one of the reasons Welles' story remains incomplete. She has talked to few of his biographers and acknowledges that she has had a hard time reconciling the genius of "Citizen Kane" with her dynamic, but distant father, who died in 1985.
But in recent years, she has reached her "great goal" of peace with Welles and found the words. In 2002, she privately published "The Movie Director," a collection of poems. She now has written a memoir, "In My Father's Shadow," just released by Algonquin Books, the darkened cover showing a gray, bearded Welles, hand holding a cigar before his mouth like an old king pointing a sword.
"I wanted to write a book that would give Orson Welles a human face," says the 71-year-old Feder, interviewed on a rainy afternoon at her apartment in downtown Manhattan. "I wanted to show him with all his warts and holes, but also with the qualities that don't come through in the other books."
Her father's spirit flickers in Feder's eyes, but she more resembles her mother and Welles' first wife, actress Virginia Nicolson. Feder's features are refined, her voice light, her diction even and untheatrical. Her true inheritance from her father, she says, is a love of the arts and an appreciation for people of different backgrounds and cultures.
Feder's book is new to followers of Welles — who married three times and had three daughters — if only because she is the first blood relative to write about him. In Feder's memoir, Welles is a performer even in real life, a maker of bold entrances and sudden exits, a composite of his most famous characters — as imperious as Charles Foster Kane, as unknowable as Harry Lime of "The Third Man," as wounded as Falstaff in "Chimes of Midnight."
"I learned quite a bit of intimate stuff about Orson and what he was like as a father," says director Peter Bogdanovich, a friend of Welles' who wrote often about him. "None of it surprised me; it all reminded me of the man I knew. He could be the doting father and he could disappear. He could be a doting friend and he could disappear. But he'd eventually turn up."
Growing up, Feder was awed by her father, wondering just where she fit in his life. They rarely lived under the same roof, and didn't see each other for years at a time. But when together, he would call her "darling girl," draw sketches of them, guide her through a church in Rome, the Prado museum in Madrid, Spain, or, in England, bring her for a day in the country with Laurence Olivier, Vivien Leigh, Spencer Tracy and Katharine Hepburn.
"When he was with me he was always `delighted' to see me and he was very warm and loving. But, of course, times would pass when I didn't see him," she says.
"He was not an uncaring man. He was not a cold man at all. When you want to have a creative life, it's very difficult sometimes to also fit in a personal life. ... When my mother was divorcing my father, she was flying to Rio (Rio de Janeiro, Brazil) and she was stopped at the airport and asked by a reporter, `Why are you divorcing him?' She said, `Orson doesn't have time to be married.'"
Feder writes about her famous stepmother, Rita Hayworth, remembers her brief times on the sets of his movies and confirms a rumored liaison Welles had with actress Geraldine Fitzgerald that nearly ended Feder's life before it began.
Another Welles biographer, Joseph McBride, says that "In My Father's Shadow" offers the most detailed portrait ever of Welles' marriage to Nicolson, so marginalized that at least two Welles books spell her name "Nicholson." The two were fellow actors who met as teenagers, worked together in an early, unreleased Welles movie, "Hearts of Age" and eloped, in 1934, before either had turned 20.
The newlyweds shared a Manhattan apartment and began a marriage that turned troubled and nearly tragic. In 1937, Virginia became pregnant with Chris and she and Welles moved to a farmhouse outside the city. Welles was a rising star on radio and in the theater, and was working nonstop on a stage production of "Julius Caesar."
Welles worried enough about his pregnant wife to suggest she keep company with Fitzgerald, whom he would soon cast for the theater in "Heartbreak House." Fitzgerald, who later starred in such film classics as "Wuthering Heights" and "Dark Victory," was apparently closer to Welles than his wife realized. She discovered letters from the actress that revealed they were having an affair. As Virginia Welles explained years later to her daughter, she tried to throw herself out of a hotel window, but couldn't get it open.
"I was seeing my pregnant mother falling like a rag doll from an open window, then hitting the sidewalk, lying limp and still, both of us lost in a widening pool of blood," Feder writes.
Welles and Nicolson divorced in 1940, a breakup that lead to a Wellesian moment of comic irony. Virginia Nicolson's second husband was writer Charles Lederer, the nephew of Marion Davies, the longtime mistress of William Randolph Hearst, who helped inspire the title character of "Citizen Kane," a film the newspaper tycoon tried hard to destroy. Feder was not only technically related to her father's famous enemy, she even visited the San Simeon castle that Welles renamed "Xanadu" in his film.
Some of Feder's most personal experiences with her father came through his movies. She and Welles watched "The Third Man" together and she delighted him by saying she found his character villainous, yet worthy of pity. She is still moved to tears by watching "Chimes of Midnight" and his portrayal of Falstaff, especially the climatic scene when the aging merrymaker is rejected by his former friend, the newly crowned Henry V.
"I think that my father, especially as he grew older, felt that many people betrayed him and let him down and didn't help when he needed help, whether it was financial help — trying to raise money for his films, or whether it was breaking promises," Feder said of Welles, who for much of his life made low-budget films or started projects he never finished.
Feder herself worried about letting her father down. Determined to impress him, she begged to be in one of his movies and was granted a small part — Macduff's son — in his 1948 production of "Macbeth." It was the most unpampered of film sets. Feder writes of a scene in which she is chased by a would-be killer and stabbed. She remembers her father shouting at the actor who played the assassin that he was being too gentle.
"I got pounded on the back but not so hard that I couldn't take it, and finally my father-director was satisfied," she writes. "I scrambled to my feet and looked up at him expectantly, but already he was turning away and talking with his assistant. At that moment, the fun and excitement I had felt at being in Daddy's movie drained out of me."
Feder says she wanted to write an "honest" book, a term she acknowledges her father may have disliked. He was a great "confabulator," she says, with affection, more beholden to complicated truths than plain facts. In "This Is Orson Welles," an interview book, the director berated Bogdanovich for doing so much research, concerned he would cripple the creative spirit.
"He'd probably be embarrassed (by `In My Father's Shadow')," Bogdanovich says. "He was very private and didn't like anything written about him. But I found the book very touching and I was particularly happy that she seemed to understand Orson in a way I wish everybody did, that for all his faults there was nobody like him."
"I know that while he was alive, all of us who were intimately connected with him were under strict orders never to talk to the press, never to say anything about him," says Feder, who recalls Welles' response when he learned biographer Barbara Leaming wanted to interview her.
"Oh, Barbara, you'll love Barbara. She's charming. By all means talk to her, absolutely, tell her anything you want. Just don't tell her the truth.'"
A daughter's take on Orson Welles
By HILLEL ITALIE
AP National Writer
No posters or photographs of Orson Welles hang in the living room of his eldest daughter, Chris Welles Feder. His memory is preserved, imperfectly, through a shelf of books that Feder says have yet to capture her father's many-sided life.
"There are some excellent studies about him, but I feel that the Orson Welles I knew doesn't really exist in these books because many of the people who wrote them never got closer than a long distance phone call," she says.
Feder, author of the popular "Brain Quest" series for young people, may be one of the reasons Welles' story remains incomplete. She has talked to few of his biographers and acknowledges that she has had a hard time reconciling the genius of "Citizen Kane" with her dynamic, but distant father, who died in 1985.
But in recent years, she has reached her "great goal" of peace with Welles and found the words. In 2002, she privately published "The Movie Director," a collection of poems. She now has written a memoir, "In My Father's Shadow," just released by Algonquin Books, the darkened cover showing a gray, bearded Welles, hand holding a cigar before his mouth like an old king pointing a sword.
"I wanted to write a book that would give Orson Welles a human face," says the 71-year-old Feder, interviewed on a rainy afternoon at her apartment in downtown Manhattan. "I wanted to show him with all his warts and holes, but also with the qualities that don't come through in the other books."
Her father's spirit flickers in Feder's eyes, but she more resembles her mother and Welles' first wife, actress Virginia Nicolson. Feder's features are refined, her voice light, her diction even and untheatrical. Her true inheritance from her father, she says, is a love of the arts and an appreciation for people of different backgrounds and cultures.
Feder's book is new to followers of Welles — who married three times and had three daughters — if only because she is the first blood relative to write about him. In Feder's memoir, Welles is a performer even in real life, a maker of bold entrances and sudden exits, a composite of his most famous characters — as imperious as Charles Foster Kane, as unknowable as Harry Lime of "The Third Man," as wounded as Falstaff in "Chimes of Midnight."
"I learned quite a bit of intimate stuff about Orson and what he was like as a father," says director Peter Bogdanovich, a friend of Welles' who wrote often about him. "None of it surprised me; it all reminded me of the man I knew. He could be the doting father and he could disappear. He could be a doting friend and he could disappear. But he'd eventually turn up."
Growing up, Feder was awed by her father, wondering just where she fit in his life. They rarely lived under the same roof, and didn't see each other for years at a time. But when together, he would call her "darling girl," draw sketches of them, guide her through a church in Rome, the Prado museum in Madrid, Spain, or, in England, bring her for a day in the country with Laurence Olivier, Vivien Leigh, Spencer Tracy and Katharine Hepburn.
"When he was with me he was always `delighted' to see me and he was very warm and loving. But, of course, times would pass when I didn't see him," she says.
"He was not an uncaring man. He was not a cold man at all. When you want to have a creative life, it's very difficult sometimes to also fit in a personal life. ... When my mother was divorcing my father, she was flying to Rio (Rio de Janeiro, Brazil) and she was stopped at the airport and asked by a reporter, `Why are you divorcing him?' She said, `Orson doesn't have time to be married.'"
Feder writes about her famous stepmother, Rita Hayworth, remembers her brief times on the sets of his movies and confirms a rumored liaison Welles had with actress Geraldine Fitzgerald that nearly ended Feder's life before it began.
Another Welles biographer, Joseph McBride, says that "In My Father's Shadow" offers the most detailed portrait ever of Welles' marriage to Nicolson, so marginalized that at least two Welles books spell her name "Nicholson." The two were fellow actors who met as teenagers, worked together in an early, unreleased Welles movie, "Hearts of Age" and eloped, in 1934, before either had turned 20.
The newlyweds shared a Manhattan apartment and began a marriage that turned troubled and nearly tragic. In 1937, Virginia became pregnant with Chris and she and Welles moved to a farmhouse outside the city. Welles was a rising star on radio and in the theater, and was working nonstop on a stage production of "Julius Caesar."
Welles worried enough about his pregnant wife to suggest she keep company with Fitzgerald, whom he would soon cast for the theater in "Heartbreak House." Fitzgerald, who later starred in such film classics as "Wuthering Heights" and "Dark Victory," was apparently closer to Welles than his wife realized. She discovered letters from the actress that revealed they were having an affair. As Virginia Welles explained years later to her daughter, she tried to throw herself out of a hotel window, but couldn't get it open.
"I was seeing my pregnant mother falling like a rag doll from an open window, then hitting the sidewalk, lying limp and still, both of us lost in a widening pool of blood," Feder writes.
Welles and Nicolson divorced in 1940, a breakup that lead to a Wellesian moment of comic irony. Virginia Nicolson's second husband was writer Charles Lederer, the nephew of Marion Davies, the longtime mistress of William Randolph Hearst, who helped inspire the title character of "Citizen Kane," a film the newspaper tycoon tried hard to destroy. Feder was not only technically related to her father's famous enemy, she even visited the San Simeon castle that Welles renamed "Xanadu" in his film.
Some of Feder's most personal experiences with her father came through his movies. She and Welles watched "The Third Man" together and she delighted him by saying she found his character villainous, yet worthy of pity. She is still moved to tears by watching "Chimes of Midnight" and his portrayal of Falstaff, especially the climatic scene when the aging merrymaker is rejected by his former friend, the newly crowned Henry V.
"I think that my father, especially as he grew older, felt that many people betrayed him and let him down and didn't help when he needed help, whether it was financial help — trying to raise money for his films, or whether it was breaking promises," Feder said of Welles, who for much of his life made low-budget films or started projects he never finished.
Feder herself worried about letting her father down. Determined to impress him, she begged to be in one of his movies and was granted a small part — Macduff's son — in his 1948 production of "Macbeth." It was the most unpampered of film sets. Feder writes of a scene in which she is chased by a would-be killer and stabbed. She remembers her father shouting at the actor who played the assassin that he was being too gentle.
"I got pounded on the back but not so hard that I couldn't take it, and finally my father-director was satisfied," she writes. "I scrambled to my feet and looked up at him expectantly, but already he was turning away and talking with his assistant. At that moment, the fun and excitement I had felt at being in Daddy's movie drained out of me."
Feder says she wanted to write an "honest" book, a term she acknowledges her father may have disliked. He was a great "confabulator," she says, with affection, more beholden to complicated truths than plain facts. In "This Is Orson Welles," an interview book, the director berated Bogdanovich for doing so much research, concerned he would cripple the creative spirit.
"He'd probably be embarrassed (by `In My Father's Shadow')," Bogdanovich says. "He was very private and didn't like anything written about him. But I found the book very touching and I was particularly happy that she seemed to understand Orson in a way I wish everybody did, that for all his faults there was nobody like him."
"I know that while he was alive, all of us who were intimately connected with him were under strict orders never to talk to the press, never to say anything about him," says Feder, who recalls Welles' response when he learned biographer Barbara Leaming wanted to interview her.
"Oh, Barbara, you'll love Barbara. She's charming. By all means talk to her, absolutely, tell her anything you want. Just don't tell her the truth.'"
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Re: Best books on Orson Welles?
by Glenn Anders » Fri Oct 30, 2009 4:52 pm
Well said, I think, here -- all around.
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Re: Best books on Orson Welles?
by Joshua » Fri Oct 30, 2009 8:18 pm
Excellent interview. thanks for posting it.
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Re: Best books on Orson Welles?
by ToddBaesen » Sat Oct 31, 2009 2:30 am
Apparently the only Wellesnet member from San Francisco who has been invited to speak with Chris Welles Feder privately when she comes to San Francisco to talk about her new book is Glenn Anders.
I was rather sad, but not totally surprised that I was not invited.
In any case, her new book on her father is quite good and at least I will have the chance to meet Chris at her appearance at the Rafael Theater, in San Rafael, so I really can't complain...
I was rather sad, but not totally surprised that I was not invited.
In any case, her new book on her father is quite good and at least I will have the chance to meet Chris at her appearance at the Rafael Theater, in San Rafael, so I really can't complain...
Todd
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Re: Best books on Orson Welles?
by mido505 » Sat Oct 31, 2009 4:28 pm
But Todd, if, as Keats suspects, you and Glenn are the same person, won't you be there too? 
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Re: Best books on Orson Welles?
by mido505 » Sat Oct 31, 2009 10:14 pm
Keats: with all due respect, I'll match my posts on this board up against anyone's in terms of insight, seriousness, and literary merit (among other things, I have a very healthy Wellsian ego). Todd Baesen is a serious guy. Glenn Anders is a serious guy. Tony is a serious guy. Roger Ryan is a serious guy. Night Man is a serious guy. Nextren is a serious guy, and Tonyw, and all the others I am leaving out. As Todd noted, Glenn is serious enough that he is the only Wellesnetter invited to a private meeting with Chris Feder, so I guess his frivolities have been forgiven. Why don't you lighten up a little bit? You know what I'm getting sick of? Posts whining about other posts. I am also getting sick of posts whining about other posters. And rather than whining that no one has posted a post about Biskind's Beatty biography, how about posting a post about Biskind's Beatty biography. Then we can all chime in...seriously.
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Re: Best books on Orson Welles?
by NoFake » Mon Nov 02, 2009 8:17 am
Please forgive the duplicate below. My PC had a fit. Can someone please delete it (and this one, when you're done)? Thanks.
Last edited by NoFake on Mon Nov 02, 2009 8:31 am, edited 1 time in total.
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Re: Best books on Orson Welles?
by NoFake » Mon Nov 02, 2009 8:17 am
Many thanks for this amazing compilation, keats. It makes even more astonishing the failure of the most accomplished theater people, who should be eating Orson Welles for breakfast, to recognize his impact on their work and on the recent history of theater. An example is the much lauded staging of "Much Ado" at the Folger Shakespeare Library in Washington http://www.folger.edu/wosummary.cfm?cdid=887&wotypeid=2&season=c&woid=527 whose dramaturg, a brilliant young woman who knows her Shakespeare and her craft inside and out, was utterly unaware of the Voodoo "Macbeth" (and MR. ARKADIN, which came immediately to this Wellesian's mind upon seeing the Mardi Gras-like masks), and even more astonished to learn of the "Everybody's Shakespeare"s.
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Re: Best books on Orson Welles?
by NoFake » Mon Nov 02, 2009 8:17 am
Many thanks for this amazing compilation, keats. It makes even more astonishing the failure of the most accomplished theater people, who should be eating Orson Welles for breakfast, to recognize his impact on their work and on the recent history of theater. An example is the much lauded staging of "Much Ado" at the Folger Shakespeare Library in Washington http://www.folger.edu/wosummary.cfm?cdid=887&wotypeid=2&season=c&woid=527 whose dramaturg, a brilliant young woman who knows her Shakespeare and her craft inside and out, was utterly unaware of the Voodoo "Macbeth" (and MR. ARKADIN, which came immediately to this Wellesian's mind upon seeing the Mardi Gras-like masks), and even more astonished to learn of the "Everybody's Shakespeare"s.
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Re: Best books on Orson Welles?
by The Night Man » Sun Nov 22, 2009 1:05 am
Is anyone here familiar with the book "Nihilism in Film and Television: A Critical Overview from Citizen Kane to the Sopranos" by Kevin L. Stoehr? Here's the Amazon link: http://www.amazon.com/Nihilism-Film-Television-Critical-Overview/dp/0786425474/ref=sr_1_14?ie=UTF8&s=books&qid=1258857173&sr=1-14
Obviously it's not exclusively about Welles' work, but since Kane is name-checked in the subtitle I'm curious. Wellesnetters will no doubt notice that the cover image of Welles is from Touch of Evil, not Kane. Is that an immediate bad sign?
Obviously it's not exclusively about Welles' work, but since Kane is name-checked in the subtitle I'm curious. Wellesnetters will no doubt notice that the cover image of Welles is from Touch of Evil, not Kane. Is that an immediate bad sign?
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Re: Best books on Orson Welles?
by tonyw » Sun Nov 22, 2009 5:13 pm
Today, some publishers are not what they used to be with the lack of appropriate copy-editing let along knowledge of film. Some, like the University of Toronto, have stated that if certain universities demand online access to their copyright material, it is OK if authors decide to do copy-editing themselves and perform functions presses used to do years ago.
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