One of the most fascinating new movies in 2018 – and if you want to say it's one of the best, I'm all ears – is actually more than four decades. The director who hacked him died 33 years ago in 1985. It's called "The Other Side of the Wind," a long-lost film by Orson Welles, and now you can watch it on Netflix.
And man, you should ever.
The fact that we can finally see the invisible work of Welles, one of the greatest talents in film history and one of his greatest and most self-defeating ego, is the unexpected pleasure of the left. In the early seventies, the director came from Europe in two decades of exile, where he was driven by distrust and ill treatment of Hollywood.
Classical studio manager was pariah: a 25 year old smartass who made "Citizen Kane" and thought he was better than the rest of the city. But for new Hollywood filmmakers of the 1960s – young young producers and stars whose European films influenced contra-culture – Welles was the patriarch of the rebel. To his disappointment it did not concern the money for filming new movies.
The aging autopress pushed itself no matter what. In the first half of the 1970s, Welles collaborated with the crew of the crew and the role of the actor's house on "The Other Side of the Wind," a film designed to parody New Hollywood excesses and defeat children in their own play. Financing, however, was low, and then out, and when the Iranian Revolution interrupted the finances of the main investor (who was dealing with the Shah), the film was confiscated by the producers and blocked in the Paris vault for decades.
Many people have worked over the years to get Wellen's swan song from prison rights and have finished according to late master notes and wishes. Director Peter Bogdanovich, Welles' acolyte, who starred in The Other Side of the Wind, and producer Frank Marshall, a prominent Hollywood powerhouse who worked as a crew member in the film, led the effort, and Netflix finally kicked out the resources needed to the project has reached the final stages of completion.
Started in 1971, "The Other Side of the Wind" debuted at the Venice Film Festival in August and premiered last week at Netflix. (It's theatrically shown in New York and Los Angeles, and maybe it's coming to Boston's screen.)
The film is a mess – deliberately and otherwise – but it's also a gas. "The other side of the wind" is actually two movies in one. The first is the chaotic mercantile of the director of Hollywood director Jake Hannaford (who plays the story of Hollywood director John Huston, who clearly stands behind Welles) and tries to make his last film.
The film is also called "The Other Side of the Wind," and in the long snippets we see in studio projections and the endless party that Hannaford throws for itself, it is a parody of what Antonioni, Bergman and Hollywood directors who emulated them.
Since Welles was clearly unable to make a bad film of intent, film sequences within the film are also fascinating, shooting and editing with constantly evolving capabilities and represent the striking (and largely unfulfilled) form of Oja Kodar, a sculptural Croatian actress and writer, who at that time was Welles' companion.
If Hannaford's "The Other Side of the Wind" is quite amazing (or vice versa), Welles' "The Other Side of the Wind," which is the desperate smudge of mummering and flattery that surrounds Jake, is rich, Rabelaisian and full of hollow Hollywood observations. As Welles shot the years and invited everyone who knew it, the film is practically a book of the early 70's.
Bogdanovich plays a young director whose career is commercially covering his teacher (as was the case in real life); he replaced the comedian Rich Rich in the role, but Little still appears in the corner of faux-doc. Dennis Hopper offers rock stories, Susan Strasberg floats suspiciously as a film critic like Welles' bête noire Pauline Kael. Hollywood faces such as Cameron Mitchell, Mercedes McCambridge and Edmond O'Brien play Hannaford friends, Lilli Palmer appears to be part of Marlene Dietrich, and director of studio Norman Foster has the most moving role as Billy Boyle , aging.
Was Orson Welles the man who invented the mockumentarna? Well, yeah – again in 1941 with a fake novel that opens "Citizen Kane". "The Other Side of the Wind" has more of Altman's circus atmosphere, but bites of dialogue – mordant, exhausted celebrity, media, film making, Hollywood plays – Welles.
To add to the meta-film hijinks, the 98-minute full-fledged documentary "The Other Side of the Wind" is accompanied by Netflix. Directed by Morgan Neville ("20 feet from Star", "You Will not Be My Neighbor"), "Love Me When I'm Dead," is as fascinating as Welles' film and in some ways even more abhorrent, as he describes in detail the creative tragicomedy behind the scenes production.
(To finish, there's also an excellent 40-minute mini-doc about saving and editing Welles' film, entitled "Final Cut for Orson: 40 Years in the Making", plugged in Netflix "Trailers and More"
Should you watch a movie before a documentary or a document? It matters. If you come to Welles with a "Citizen Kane" exam under your belt, Nevill's doctor takes you to speed and prepares you for the catchy wind of the 1970s. old filmmaker and / or long-time friend of Orson, dive directly and then let "love me when I'm dead" to provide an unhurried background.
Fans or not, it's up to you to decide whether it's "the other side of the wind" that Orson wanted to drive from the other side of the grave. Of course, the film has never been completed: despite Welles' claim to the contrary in documentary film Neville – and like the unfortunate playwright Philip Seymour Hoffman in the metaphile of Charlene Kaufman's "Synecdoche, New York" 2008, it seems that the legendary murdered film made his version of his life, who somehow connected with the real.
You could say that all of Orson Welles' films were ultimately about Orson Welles. More than any other, "Wind" can be a large white whales that were both pursuing and being.