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Joan Fontaine and Orson Welles star in “Jane Eyre”: The Ultimate Gothic Romance Jane Eyre (1943) is a gothic romance directed by Robert Stevenson and starring Orson Welles and Joan Fontaine. Based on the classic novel by Charlotte Bronte, the screenplay was written by John Hous read more

Mr. Arkadin (also known as Confidential Report) has the abundance of canted angles and striking visual flourishes one usually attributes to the films of Orson Welles. It also boasts his ever more disorienting sense of space and shot-reverse-shot even as the international cast, financing, and locale read more

“What Ever Happened to Orson Welles?: A Portrait of an Independent Career”We have Four Books to Giveaway this Month! CMH is happy to announce our first 2022 Classic Movie Book Giveaway as part of our partnership with University Press of Kentucky! This time, we’ll be giving away FOUR COPIES&n read more

Orson Welles pursues Rita Hayworth in “The Lady from Shanghai” The Lady from Shanghai (1947) is a film noir directed by Orson Welles and starring Rita Hayworth, Orson Welles, and Everett Sloane. Initially snubbed by the critics upon its initial release, the film has garnered a reput read more

Joan Fontaine and Orson Welles star in “Jane Eyre” Jane Eyre (1943) is a gothic romance directed by Robert Stevenson and starring Orson Welles and Joan Fontaine. Based on the classic novel by Charlotte Bronte, the screenplay was written by John Houseman, Aldous Huxley, and Robe read more

Edward G. Robinson Pursues Nazis in “The Stranger” directed by Orson Welles The Stranger (1946) is a film noir directed by Orson Welles, produced by Sam Spiegel, and starring Edward G. Robinson, Loretta Young, and Orson Welles. The film concerns Mr. Wilson (Robinson) of the United read more

With the name of Orson Welles comes any number of conflicting connotations not far removed from his greatest achievement: Citizen Kane. However, if we had to try and pinpoint an apt superlative it would fall somewhere in between a mythic and Brobdingnagian titan of cinema. He was a personality like read more

Chimes at Midnight opens with Orson Welles and Alan Webb, both aged men in the Medieval Ages, bumbling (probably at least somewhat drunkenly) in for the night; they sit at a fire and gently reminisce about their youth. The scene gives a first look at screenwriter, director, star Welles in all his g read more

Chimes at Midnight opens with Orson Welles and Alan Webb, both aged men in the Medieval Ages, bumbling (probably at least somewhat drunkenly) in for the night; they sit at a fire and gently reminisce about their youth. The scene gives a first look at screenwriter, director, star Welles in all his g read more

Chimes at Midnight opens with Orson Welles and Alan Webb, both aged men in the Medieval Ages, bumbling (probably at least somewhat drunkenly) in for the night; they sit at a fire and gently reminisce about their youth. The scene gives a first look at screenwriter, director, star Welles in all his g read more

Chimes at Midnight opens with Orson Welles and Alan Webb, both aged men in the Medieval Ages, bumbling (probably at least somewhat drunkenly) in for the night; they sit at a fire and gently reminisce about their youth. The scene gives a first look at screenwriter, director, star Welles in all his g read more

It’s immaterial to the film overall but I want to talk about how Welles compensates for projection composites looking like projection composites. He changes up his focus, sometimes focusing on the person in the foreground, sometimes not. Is it intentional? Is he really trying to compensate? Well, read more

It’s immaterial to the film overall but I want to talk about how Welles compensates for projection composites looking like projection composites. He changes up his focus, sometimes focusing on the person in the foreground, sometimes not. Is it intentional? Is he really trying to compensate? Well, read more

It’s immaterial to the film overall but I want to talk about how Welles compensates for projection composites looking like projection composites. He changes up his focus, sometimes focusing on the person in the foreground, sometimes not. Is it intentional? Is he really trying to compensate? Well, read more

It’s immaterial to the film overall but I want to talk about how Welles compensates for projection composites looking like projection composites. He changes up his focus, sometimes focusing on the person in the foreground, sometimes not. Is it intentional? Is he really trying to compensate? Well, read more

Documentário: Magician: The Astonishing Life and Work of Orson Welles (2004) Aos dez anos, a inteligência de Orson era notícia de jornal. Aos treze, ele interpretava a Virgem Maria em uma peça da escola. Aos 19, ele dirigiu sua primeira peça. Aos 23, sua performance de “Guerra dos read more

My definition of a filmmaker is a man who presides over accidents. -Orson Welles Quote Source read more

The Other Side of the Wind opens with two very ominous notes. Well, two and a half. The first is a text card explaining the film’s history, but not much about its resurrection. For example (and here’s the half ominous note), was it director Welles’s idea to do multiple aspect ratios? It makes read more

Uma ode a Orson Welles / An ode to Orson Welles Algumas coisas são fáceis de aprender. Tipo álgebra. E gramática. E a fotossíntese. E uma segunda língua. Estas coisas foram fáceis de aprender se você foi uma criança prodígio, como eu fui. Porque há uma única coisa realmente difícil read more

Certain stars are larger than life, and with that reputation comes a tendency for documentaries and biographies to glamorize or deify their subject, placing them in a league above men entirely. Chuck Workman’s documentary, Magician, gives reasons for elevating Welles while also saying that Wel read more