WELLESNET MESSAGE BOARD

Here's a description of the book in English (albeit one translated via Google and myself):

In the brief history of cinema, there have been numerous adaptations of world literary classics and, as one would expect, some have been more successful than others. "Don Quixote" is one of those masterpieces that has often found its way into the cinema, either in full or in part. There have been over a hundred films produced that have attempted to adapt the novel, or have used the character of Quixote as a reference model, from a variety of countries including Brazil, Finland, Greece, Argentina, Denmark, Israel, Bulgaria, Australia, Switzerland, South Korea, Italy, France , United Kingdom, United States, the Soviet Union and, of course, Spain. In these pages, Ferran Herranz unravels the most publicized of these film adaptations and addresses the difficult relationship between literature and cinema, which, at this point, has failed to make an adaptation of "Don Quixote" that has generated a unanimously favorable reception.

I have no idea how much of the book is devoted to Welles' adaptation and I don't think there is an English translation. An interesting find nonetheless.

He's a master of timing, which you have to be as a magician. Frankly, I think he was more in tune with that profession (or trickster) than what we would consider a film auteur - someone whose concern (among others) is cinematic art above all else. A film like Ambersons is nostalgic but devoid of the kind of resonance that appeals to a truly wide audience. I think you have to be a little in love with that period of American history and Victoriana, frankly, in order to truly enjoy the picture. It feels like a time capsule each time I sit down to view it. The film gets lost in the trappings of the period. I don't think Wells was able to transcend that. To be fair, much of the story involves the material loss of that world but I don't think there's any question that essentially it's a period melodrama.

On WELLES: articles—

Cocteau, Jean, profile of Welles, in Cinémonde (Paris), 6 March 1950.

MacLiammóir, Micheál, "Orson Welles," in Sight and Sound (London), July-September 1954.

"L'Oeuvre d'Orson Welles," in Cahiers du Cinéma (Paris), September 1958.

Gerasimov, Sergei, "All Is Not Welles," in Films and Filming (London), September 1959.

Stanbrook, Alan, "The Heroes of Welles," in Film (London), no. 28, 1961.

"Welles Issue" of Image et Son (Paris), no. 139, 1961.

Weinberg, Herman G., "The Legion of Lost Films," in Sight andSound (London), Autumn 1962.

Tyler, Parker, "Orson Welles and the Big Experimental Film Cult," in Film Culture (New York), Summer 1963.

Pechter, William, "Trials," in Sight and Sound (London), Winter 1963–64.

Johnson, William, "Orson Welles: Of Time and Loss," in FilmQuarterly (Berkeley), Fall 1967.

Daney, Serge, "Welles in Power," in Cahiers du Cinéma in English (New York), September 1967.

"Special Report: Orson Welles," in Action (Los Angeles), May-June 1969.

McBride, Joseph, "Welles before Kane," in Film Quarterly (Berkeley), Spring 1970.

Wilson, Richard, "It's Not Quite All True," in Sight and Sound (London), Autumn 1970.

Henderson, Brian, "The Long Take," in Film Comment (New York), Summer 1971.

Prokosch, Mike, "Orson Welles," in Film Comment (New York), Summer 1971.

Goldfarb, Phyllis, "Orson Welles' Use of Sound," in Take One (Montreal), July-August 1971.

Coulouris, George, and Bernard Herrmann, "'The Citizen Kane Book,"' in Sight and Sound (London), Spring 1972.

Cohen, H., "The Heart of Darkness in Citizen Kane," in CinemaJournal (Evanston), Fall 1972.

Goldfarb, Phyllis, "Heston on Welles," in Take One (Montreal), October 1972.

Hale, N., "Welles and the Logic of Death," in Film Heritage (New York), Fall 1974.

Gow, Gordon, "A Touch of Orson," in Films and Filming (London), December 1974.

"Hollywood Salutes its 'Maverick' Genius Orson Welles," special issue of American Cinematographer (Los Angeles), April 1975.

Brady, Frank, "The Lost Film of Orson Welles," in American Film (Washington, D.C.), November 1978.

McBride, Joseph, "All's Welles," in Film Comment (New York), November-December 1978.

Poague, Lee, "The Great God Orson: Chabrol's 'Ten Days' Wonder," in Film Criticism (Edinboro, Pennsylvania), no. 3, 1979.

Valentinetti, Claudio M., "Orson Welles," in Castoro Cinema (Milan), no. 83, 1980.

Neale, Steve, "Re-viewing Welles," in Screen (London), May-June 1982.

Houston, Beverle, "Power and Dis-integration in the Films of Orson Welles," in Film Quarterly (Berkeley), Summer 1982.

Weber, A., "Du citizen Welles au cinéma direct," in CinémAction (Conde-sur-Noireau), no. 23, November 1982.

McLean, A. M., "Orson Welles and Shakespeare: History and Consciousness in Chimes at Midnight," in Literature/Film Quarterly (Salisbury, Maryland), no. 3, 1983.

Beja, M., "Where You Can't Get at Him: Orson Welles and the Attempt to Escape from Father," in Literature/Film Quarterly (Salisbury, Maryland), January 1985.

Strick, Philip, "Orson Welles," in Films and Filming (London), July 1985.

McCarthy, Todd, obituary, in Variety (London), 16 October 1985.

Kauffmann, Stanley, obituary, in New Republic (New York), 11 November 1985.

Stubbs, J. C., "The Evolution of Orson Welles's Touch of Evil from Novel to Film," in Cinema Journal (Champaign, Illinois), Winter 1985.

"Orson Welles Sections" of Cahiers du Cinéma (Paris), November and December 1985.

Wood, Michael, "The Magnificent Orson," in American Film (New York), December 1985.

Maxfield, J., "A Man like Ourselves," in Literature/Film Quarterly (Salisbury, Maryland), no. 3, 1986.

Harper, W. R., "Polanski v. Welles on Macbeth: Character or Fat?," in Literature/Film Quarterly (Salisbury, Maryland), no. 4, 1986.

"Welles Issue" of Avant-Scène du Cinéma (Paris), January-February 1986.

Kehr, Dave, obituary, in Film Comment (New York), January-February 1986.

Traubery, L., "Celovek pervoj veliciny," in Iskusstvo Kino (Moscow), no. 4, April 1986.

Rosenbaum, Jonathan, "The Invisible Orson Welles," in Sight andSound (London), Summer 1986.

Gehler, F., "Orson Welles: Das Trauma von Rosebud," in Film undFernsehen (Berlin), vol. 14, no. 8, August 1986.

Bates, Robin, "Fiery Speech in a World of Shadows: Rosebud's Impact on Early Audiences," in Cinema Journal (Champaign, Illinois), vol. 26, no. 2, 1987.

Sartre, Jean-Paul, "Citizen Kane," in Post Script (Jacksonville, Florida), vol. 7, no. 1, 1987.

Anderegg, Michael, "Every Third Word a Lie: Rhetoric and History in Orson Welles' Chimes at Midnight," in Film Quarterly (Berkeley), Spring 1987.

Rodman, Howard A., "The Last Days of Orson Welles," in American Film (Washington, D.C.), June 1987.

France, Richard, "Orson Welles' First Film," in Films in Review (New York), August-September 1987.

Bywater, William, "The Desire for Embodiment in Orson Welles's Citizen Kane," in Post Script (Jacksonville, Florida), vol. 7, no. 2, 1988.

Jewell, Richard B., "Orson Welles, George Schaefer and It's AllTrue," in Film History (Philadelphia), vol. 2, no. 4, 1988.

Kalinak, Kathryn, "The Text of Music: A Study of The MagnificentAmbersons," in Cinema Journal (Champaign, Illinois), vol. 27, no. 4, 1988.

Perlmutter, Ruth, "Working with Welles: an Interview with Henry Jaglom," in Film Quarterly (Berkeley), Spring 1988.

Stainton, A., "Don Quixote: Orson Welles' Secret," in Sight andSound (London), Autumn 1988.

White, Armond, "Wishing Welles," in Film Comment (New York), October 1988.

"Orson Welles Issue" of Persistence of Vision (Maspeth, New York), no. 7, 1989.

Norcen, L., "Orson Welles e la scena della negazione," in CinemaNuovo (Rome), vol. 38, no. 319, May-June 1989.

Vidal, Gore, "Remembering Orson Welles," in New York Review ofBooks, 1 June 1989.

Nielsen, N. A., "Et allerhelvedes perspektiv," in Kosmorama (Copenhagen), vol. 35, no. 189, Autumn 1989.

Bywater, W., "The Visual Pleasure of Patriarchal Cinema: Welles' 'Touch of Evil,"' Film Criticism, vol. 14, no. 3, 1990.

Lezcano, A., "Un genio llamando Orson Welles," in Cine Cubano (Havana), no. 130, 1990.

Simon, W. G. "Welles: Baktin: Parody," in Quarterly Review ofFilm and Video (Langhorne, PA), vol. 12, no. 1–2, May 1990.

Thomas, F. "Orson Welles," in Positif (Paris), January 1991.

Naremore, James, "The Trial: The FBI vs. Orson Welles," in FilmComment (New York), January-February 1991.

Andrew, G., "Reel Life," in Time Out (London), no. 1089, 3 July 1991.

Saada, N. "Les trésors de Welles," in Cahiers du Cinéma (Paris), no. 447, September 1991.

Hogue, Peter, "The Friends of Kane," in Film Comment (New York), November-December 1991.

Jameson, Richard T., "Cries and Whispers," in Film Comment (New York), January-February 1992.

Rosenbaum, Jonathan, "The Seven Arkadins," in Film Comment (New York), January-February 1992.

Berthome, J.-P., and others, in Positif (Paris), special section, no. 378, July-August 1992.

Cramer, B., "The Restored 'Othello,"' Films in Review, July-August 1992.

McBride, Joseph, "The Last Kingdom of Orson Welles," in NewYork Review of Books, 13 May 1993.

Niogret, H. "Du pirate au vampire. Orson Welles," in Positif (Paris), no. 379, September 1992.

Rosenbaum, J. and Philip Kemp, "Improving Mr. Welles. Perplexed in the Extreme," in Sight and Sound (London), vol. 2, no. 6, October 1992.

Timm, M., "Orson Welles van ingen martyr!," in Chaplin (Stockholm), vol. 35, no. 3, 1993.

Timm, M., T. Hansen, and P. Bogdanovich, in Chaplin (Stockholm), vol. 35, no. 3, Summer 1993.

Purtell, Tim, "The Genius Nobody Wanted," in Entertainment Weekly, 8 October 1993.

Cahiers du Cinéma (Paris), special section, no. 475, January 1994.

Combs, Richard, "Burning Masterworks," in Film Comment (New York), January-February 1994.

Aumont, Jacques, "L'ombre et la couleur: Une histoire immortelle," in Cinémathèque (Paris), no. 5, Spring 1994.

DeBona, G., "Into Africa: Orson Welles and Heart of Darkness," in Cinema Journal (Austin), vol. 33, no. 3, Spring 1994.

Garcia, Maria, "Re-inventing Orson Welles," in Films in Review (New York), vol. 45, no. 5–6, May-June 1994.

Lapinski, Stan, "Contouren van het Welles-universum," in Skrien (Amsterdam), no. 196, June-July 1994.

La Rochelle, Réal, "Welles/Herrmann. Passage de la radio au cinéma," in 24 Images (Montreal), no. 73–74, September-October 1994.

Hall, John W. "Touch of Psycho? Hitchcock's Debt to Welles," in Bright Lights (Cincinnati), no. 14, 1995.

Rosenbaum, Jonathan, and Bill Krohn, "Orson Welles in the U.S.: An Exchange," in Persistence of Vision (Maspeth, New York), no. 11, 1995.

Brandlmeier, Thomas, "Die Vertreibung aus dem Paradies," in EPDFilm (Frankfurt), vol. 12, no. 3, March 1995.

Lapinski, Stan, "Kroniek. De mist verdrijven," in Skrien (Amsterdam), no. 206, February-March 1996.

Scorsese, Martin, "Ma cinéphilie," in Cahiers du Cinéma (Paris), no. 500, March 1996.


"'Despite the System:' The Kane Mutiny"
The New York Times Magazine [United States] (1 May 2005), by Budd Schulberg

"Genius and folly"
The Guardian Magazine [United Kingdom] (29 August 2003), by Peter Conrad

"Citizen Welles"
Dagens Nyheter Magazine [Sweden] (18 January 2000), page B5, by Jan Lumholdt

"Goss-producenten Orson Welles"
Dagens Nyheter Magazine [Sweden] (27 April 1941)

"Orson Welles e a música das palavras"
Diário de NotÃcias Magazine [Portugal] (2 July 1999), page 44, by João Lopes

"Orson Welles At 90"
Stop Smiling Magazine [United States] (2005), page 54-59, by Jonathan Rosenbaum

"Rio Divorce: New looks at Orson Welles' war with the studios."
Bookforum Magazine [United States] (September 2006), page 49, by Kent Jones

"The Blessed and the Damned: Orson Welles and the Fantasy Genre"
Cult Movies Magazine [United States] (2000), page 56-61, by Ron Ford & Tim Murphy

"Where Is 'The Other Side Of The Wind'? or Quien Es Mas Macho: Orson Welles, John Huston, or Ernest Hemingway?"
Cineaste Magazine [United States] (2003), page 4-7, by Nicole V. Gagne

""Reviving Orson: or Rosebud, Dead or Alive"
Cineaste Magazine [United States] (2000), page 10-13, by Paul Arthur

"Orson Welles: Shakespeare for the Art Houses"
Cineaste Magazine [United States] (1998), page 28-33, by Kenneth S. Rothwell

""The Battle Over Orson Welles""
Cineaste Magazine [United States] (1996), page 6-10, by Jonathan Rosenbaum

"Geia sou kai andio"
Vimagazino Magazine [Greece] (28 October 2001), page 104-107, by Eleni Pirgioti

"Setting Terms for Orson"
Film Comment Magazine [United States] (September 1996), page 85-87, by Donald Lyons

"Cries and Whispers"
Film Comment Magazine [United States] (January 1992), page 56, by Richard T Jameson

"TV as Snowglobe"
Film Comment Magazine [United States] (January 1992), page 54-55, by Henry Sheehan

"The Seven Arkadins"
Film Comment Magazine [United States] (January 1992), page 50-53+57-59, by Jonathan Rosenbaum

"The Trial: The FBI vs. Orson Welles"
Film Comment Magazine [United States] (January 1991), page 22-27, by James Naremore

"The Big O"
Vanity Fair Magazine [United States] (November 1999), page 236-241 & 130-143, by James Wolcott

"O skinothetis pou agapisame"
Cinema Magazine [Greece] (October 1999), page 102-107, by Babis Aktsoglou

""The Film That Broke Orson Welles' Heart""
Entertainment Weekly Magazine [United States] (14 April 2006), page 52-54, by Nashawaty, Chris

"Welles' War"
Entertainment Weekly Magazine [United States] (30 October 1998), page 132, by Jeff Gordinier

"The Genius Takes On Tinseltown"
Playboy Magazine [United States] (December 1983), page 172-173+178+301-304, by Barbara Leaming

"The Most Successful Person In Hollywood"
Movieline Magazine [United States] (November 2002), page 38+90, by David Thomson

""DVD Essential Filmography""
Premiere Magazine [United States] (May 2006), page 98-99, by Webster, Andy

Thanks to Michael O'Brien. Tim Platt's short sci-fi story "Impossible Dreams" touches on Welles's original Ambersons and was nominated for a Hugo Award:
http://web.archive.org/web/200704220759 ... eams.shtml

Just received the Centennial Edition of THE MAGIC WORLD OF ORSON WEELLES by James Naremore. The frame enlargements are much better and there at, at least three new chapters with probably additions to the ones we know.

Thanks to John Michael Karolyi for the tip on this. Interesting article:
http://www.laphamsquarterly.org/celebri ... ppearances

Welles had become a movie director because “We’re in the age of film. Film is at the heart of life.” Yet he’d lived well into the age of TV—an age in which people increasingly became famous for no discernible reason—and came to see his image reshaped by the medium in ways he could never have imagined. How many of those who saw him dozens of times on talk shows died without ever seeing a single complete Welles picture? The world applauded him for being a great director, but how many actually watched what he was directing? Businesspeople hired him to hawk merchandise; filmmakers knew he’d give their hackwork a touch of class. He was both great and famous, but by the end there was hardly any connection between these two adjectives.

For anyone who has seen those post-Kane movies, Welles’ denouement is as heartbreaking as the last moments of Kane: Welles, who at his death was working on a new film, was almost universally regarded as having spent decades coasting on past glories. One of his biographers, Joseph McBride, spells the irony out succinctly: while such colleagues as John Huston “didn’t balk at directing mediocre movies for hire in order to remain bankable, Welles was heroically unwilling to compromise as a director. But he was willing to do almost anything as an actor/personality…Unfortunately, since the American public rarely saw the films such whoring allowed him to direct, whoring was all most people thought he was doing.”

What if he had lived a few more years? Perhaps he would have developed the essay-film further as Chris Marker did who also moved into new technologies? Welles worked with Reichenbach as did Chris Marker. He must have know about this remarkable individual.

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Hello,

I am new to this site and forum and I'm impressed by the website's content & detailled posts, and I thoroughly enjoy reading all the messages. Most of the mags that are listed in this post I've never read, but I do have 1 or 2 of my own and I would like to share them with you. They are Empire magazine May 2006, with quite a lengthy article on Orson Welles called "The slow and tragic death of the boy wonder", plus GQ March 2008 (UK edition) with an 8-page feature on Orson.

Cheers.

Pascal

In Conversation: Peter Bogdanovich The director on his films, marriage and infidelity, and the deaths he didn’t mourn.

Rough comments from Peter on Polly Platt, Cher, Burt Reynolds, Billy Wilder, Hugh Hefner -- and candid remarks on his own infidelities.

https://www.vulture.com/2019/03/peter-b ... ation.html

Wow, PB really lets it all hang out here. I wouldn't mind hearing more from him, while he's in that kind of mood, especially any more Welles-related stuff.

Beverle Huston's excellent 1982 article, first published in Film Comment, explores Welles's "Power Babies":
https://publishing.cdlib.org/ucpressebo ... nd=ucpress

The Fog of Welles: A Trip to Chinchón:
https://www.criterion.com/current/posts ... ZGI3smPq5A