Dear cinescot: What a lovely mid-summer's gift!
I found Jonathan Rossenbaum's weaving together of Welles, Dolivet, Nixon, and Stalin brilliant, going beyond certain assumptions I made in my own Epinions review of MR. ARKADIN, just after Christmas 2000 (reprinted at The Red Room): http://www.redroom.com/articlestory/con ... gooseliver
Especially striking (and up-to-date) is Rossenbaum's quoting of Jean-Luc Goddard in his new film about Socialism in the Cinema:
"After the invasion of France by the Germans, the Komintern transferred the gold from the Spanish bank over to Russia; they loaded it in Barcelona onboard the France Navigation company, which belonged to the French Communist Party. But upon arriving in Odessa, a third of the gold disappeared, and a second third again disappeared before arriving in Moscow… I imagined that the Germans had infiltrated the ship, that they had taken a portion of it — that’s how the old French policeman tells it in the film. But the young Russian girl who goes rummaging through the archives figures: the third that’s missing, Komintern took it, and the rest wound up in Louis Dolivet’s pockets, whose fortune can’t be explained otherwise…”
Despite Rossenbaum's disclaimer of the value of seeking lost editions, would it not be interesting to find Dolivet's personal copies of MR. ARKADIN, perhaps like that Russian (Spanish Republican?) gold, resting in a Moscow vault since the time of the Cold War?
What I didn't quite get in the Goddard quote was his references to "how the old policeman tells it in the film" and "the Russian girl who goes rummaging through the archives . . . " Are those sequences in some different version of MR. ARKADIN or in another film? Or is Goddard misremembering?