MTEAL Treasure Island and then use some of the sets to make CHIMES AT MIDNIGHT as well. As Peter Conrad points out in his rambling but often brilliant new book on Welles, the relationship between Jim Hawkins and Long John Silver is similar in some ways to the relationship between Prince Hal and Falstaff, so the idea of doing the two stories in tandem in order to illuminate those similarities may have been intriguing to Welles (He had already done a similar thing in the 50's by staging productions of KING LEAR and MOBY DICK). Welles did make Chimes but didn't bother finishing Treasure Island, although I'm fairly convinced that some Welles-shot footage did get used when the project was finished a few years later by others.
SIRBYGBERBROWNThat's exciting about Treasure - i quite agree that as a whole it doesn't stack up next to a category 1 project. But i was surprised at how watchable it was. Considering the info you give, i also noted some scenes near the beginning of interest which Welles was not in, but which looked like Wellesian compositions. In addition, though it may be a product of the similarities of the source novels, the childhood sequence remind me of the childhood sequence in Jane Eyre.
GLENNANDERS It is fitting then that Welles should make a deal, according to evil David Thomson, with the original Spanish producer, Emiliano Piedra, to put up money in order to write, direct and star in TREASURE ISLAND, in 1964, while secretly shooting CHIMES AT MIDNIGHT. As Thomson would have it, the only real set built for CHIMES . . . was The Admiral Benbow Inn, which doubled as Mistress Quickly's tavern. By the time, CHIMES AT MIDNIGHT was complete, Piedra had caught on. He is listed as a producer of the latter film. TREASURE . . . languished until it fell into the always fatal hands of Harry Alan Towers, who had it completed under the guidance of John Hough, in 1971.
Shiver me timbers, :angry: thar be Wellesian gold in thet thar film. Looks like the maestro directed the whole shooting match - Cool - Lots of amazing shots - I dig this flick, man - he takes you through this in an efficient, snappy, poetic hop, skip and jump. What freaks me out :p is that you get to see a good chunk of Welles' post-60's non-documentary cinema - you can see his dreamier, quieter, color, later-style at work here - I notice that he's got this red and blue color scheme going on...