4 Shots From 4 Orson Welles Films: Citizen Kane, Touch of Evil, Chimes at Midnight, The Other Side of the Wind

Posted on May 6, 2019 by Lisa Marie Bowman

104 years ago today, the man who forever change not only American cinema but world cinema, George Orson Welles, was born in Kenosha, Wisconsin. Beloved by film students while often being unappreciated by mainstream audiences, Orson Welles was responsible for some of the greatest and most important films of all time. As so often happens to the innovators and the creators, the film industry conspired to silence him.

Fortunately, his legacy has survived even the greatest of efforts to destroy it. Though he may have died 34 yeas ago, Welles lives on and continues to inspire filmmakers everywhere.

In honor of that legacy, it’s time for….

4 Shots From 4 Orson Welles Films

Citizen Kane (1941, dir by Orson Welles)

Touch of Evil (1958, dir by Orson Welles)

Chimes at Midnight (1965, dir by Orson Welles)

The Other Side of the Wind (2018, dir by Orson Welles)

4 Shots From 4 Films: Happy Birthday Orson Welles

Posted on May 6, 2018 by gary loggins

4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking. The cinematic genius Orson Welles was born on this date in 1915. Welles was also a noted magician, and used mirrors as a motif in many of his movies. Here are four reflective shots from The Films of Orson Welles:

Citizen Kane (RKO 194)

The Lady from Shanghai (Columbia 1947)

Touch of Evil (Universal 1958)

F For Fake (Janus Films 1975)

Happy 71st Birthday, Citizen Kane!

Posted on May 1, 2012 by Lisa Marie Bowman

It’s May 1st and do you know what that means?

Okay, yes, it is May Day and apparently, that’s a big deal to a certain class of political activist. But, let’s be honest — political causes are forgotten from decade to decade. However, a great film lives forever.

And, for me, today is all about one of the greatest films ever made.

71 years ago today, on May 1st, 1941, Orson Welles’s masterpiece Citizen Kane was first released to a movie-going public that wasn’t quite ready for it. And that was their loss because Citizen Kane has proven itself to be one of those rare films that remains just as entertaining and fascinating the 100th time you watch it as it was the first time.

One of my fondest memories is of the first time I saw Citizen Kane in film class. As I sat there listening to our professor drone on about the historical importance of what we were about to see, I was fully prepared to watch Citizen Kane and dismiss it — as I had so many other critically beloved films — as just being another overrated, academically-embraced movie.

“After all,” I thought as the movie started, “I already know Rosebud is a sled* and I haven’t even seen the freaking film. What’s the point?”

And as the film played out in the darkened auditorium, I soon discovered exactly what the point was. The point was that Citizen Kane is one of the greatest and most watchable films ever made. It’s that rare “important” film that’s actually fun to watch. It didn’t matter that I already knew what Rosebud was. In fact, I didn’t even think about it. I was too busy enjoying Joseph Cotten’s sly turn as Jedadiah Leland and the sleazy, pragmatic villainy of Ray Collins as “Boss” Jim Gettys. I was too busy cringing in a combination of sympathy and embarrassment as poor Susan Kane (Dorothy Comingore) made her disastrous operatic debut. I sat there and I was transfixed by a flawless cast that brought a vibrant life to even the smallest of roles. (My personal favorite was Paul Stewart’s wonderfully cynical performance as Raymond the Butler.) But most of all, I sat there in awe of the talent of Orson Welles. At that time, I knew little about Welles’ subsequent career troubles. I just knew that I was watching a masterpiece.

I wish I could write more (because there’s so much more to say about this film) but now’s my time to curl up on the couch in front of the TV and watch one of the greatest films ever made…

—

* And don’t you even think of going, “How about a spoiler warning!?” about that whole Rosebud comment. Seriously, if you didn’t already know that Rosebud was a sled then I have nothing to say to you.

A Few Thoughts Before Actually Seeing The Social Network

Posted on October 3, 2010 by Lisa Marie Bowman

Hi there. Lisa Marie here. I know that usually when I show up on this site, it’s too either toss up 6 more exploitation trailers or to present a review of a film that’s been unfairly dismissed (or foolishly overpraised) by the mainstream media. It’s what I love doing and I hope everyone gets at least a little occasional pleasure out of it. (If you don’t — well, please don’t tell me. I’m surprisingly sensitive.)

Last week, I expected that, at this time, I would have posted a review (probably negative) of the mainstream’s latest attempt to make an art film — David Fincher’s The Social Network.

Unfortunately, life in general — and my body in specific — had other plans. I’ve been sick since Wednesday and, for the first time in over a year, I did not spend my weekend at the movies. It’s enough to make a girl cry.

(That said, I did spend most of the weekend lounging about in various states of undress so maybe concentrating on that image will help to lessen the sting of no Social Network review…)

However, while I may not be able to give you my Social Network review, I do feel that I can give you my Social Network pre-viewing review.

Just based on the evidence presented to me so far, the Social Network sucks.

Consider the evidence:

1) Peter Travers of Rolling Stone says that the Social Network will make me “believe in film again.” Excuse me? Francios Truffaut coming back from the dead — or at least Jean-Luc Godard making one more vaguely entertaining movie before dying– will make me believe in film again. I refuse to join a religion based on a movie about fucking Facebook. Sorry, Mr. Travers.

2) Andrew O’Heir at Salon.com has compared The Social Network to — wait for it — Citizen Kane. Hopefully, when the zombie apocalypse comes, Zombie Orson Welles will eat Andrew O’Heir first.

3) According to Rotten Tomatoes — the web’s greatest resource of Mainstream Opinion — The Social Network is the best-reviewed film of 2010 so far. For a film to be that loved, it must be really needy. And what do needy things do? They manipulate, they lie, and they go out of their way to beg you to like them. A great film doesn’t give a fuck what you think.

4) The movie stars Jesse Eisenberg who has already been in 3 great movies — The Squid and the Whale, Adventureland, and Zombieland. Sorry, Jesse but only Giovanni Lombardo Radice is allowed to appear in four great films in just four years.

5) The movie is written by Aaron Sorkin. This movie is being advertised as the “defining” movie as my generation. Sorry, but the defining movie of my generation isn’t going to be written by some smug, 50 year-old, male, sexist, crackhead.

6) The movie is directed by David Fincher which normally would be a good sign except all the reviews are concentrating on Aaron Sorkin. So, is our Mr. Fincher so needy for an Oscar that he’s basically abandoned his own vision in the service of some smug, 50 year-old, male, sexist, crackhead?

7) Apparently, this movie celebrates rich kids getting richer. Just what America needs right now. Yes, let’s celebrate the dumbfug toadsuckers of the world while the guy flipping your burger over at McDonald’s loses his health insurance.

8 ) The Social Network is apparently number one at the box office after this weekend and apparently has gotten great word of mouth. You know who else got great word of mouth at one time? Adolf Hitler, that’s who. Up until it was no longer socially acceptable, the mainstream loved him too.

9) The Social Network has a really crappy, first draft title. Seriously, that’s the name of the movie?

10) Sasha Stone, over at Awardsdaily.com, loves this fucking movie and to me, that’s reason enough to assume it’s going to be an overrated piece of foolishness. Seriously, Awardsdaily.com is a great site if you want to keep up with all the Oscar buzz but — when it comes to reviews — Sasha Stone, Ryan Adams, and the rest of the site are all so middle class and predictable. (Of course, what do you expect from a site that regularly quotes William Goldman?)

So, that’s my pre-viewing review of The Social Network. Hopefully, I’ll see it next weekend and be able to post an actual review. Then we’ll be able to see if the film simply conformed to my own biases or if it truly is worthy of all the hype.

Until then, I’d love to hear your thoughts on The Social Network and the growing chorus of mainstreamers who insist that this is the greatest film of all time. Am I being too hard on it or is this yet another example of the mainstream emperor wearing no clothes?