Posts tagged orson welles.

oldfilmsflicker:

The Third Man, 1949 (dir. Carol Reed)

(via fridacinema)

keyframedaily:

Kevin B. Lee on Orson Welles's Too Much Johnson as a precursor to Citizen Kane (1941).

For more background on Welles’s “bold experiment,” see Sean Axmaker.

A few months ago, I attended a public screening hosted by The Academy of the long-lost Orson Welles experimental film/theater project TOO MUCH JOHNSON.

A few days ago, The Nation Film Preservation Fund put this reassembled footage online with extensive liner notes and context, available to stream and download for free.

In the interest of blogs who might want to embed/share the whole footage, I’ve uploaded the work print to YouTube

Please visit the NFPF for more information. 

(via wildplanetlove)

Orson Welles on the terrace of the Monte Carlo Casino photographed by Edward Quinn, 1952

(via levarburtonisacinephile)

keyframedaily:

Orson Welles by Robert Del Tredici.

(via larsvonbeer)

sams-film-stills:

Citizen Kane (1941) Dir. Orson Welles

cryism:

The Lady From Shanghai (1947), directed by Orson Welles

(via sylvysparrow)

Films in 2014—#094 Too Much Johnson (Orson Welles, 1938)

The Hearts of Age (Orson Welles & William Vance, 1934)

how much johnson? TOO MUCH JOHNSON!

the social media person at the BFI needs to chiggity check themselves because that’s an orson welles quote and they should know better

(via coffee-for-two)

(via andreii-tarkovsky)

keyframedaily:

Michael Pattison on Edward G. Robinson and Orson Welles in The Stranger (1946).

a few brief notes on THE LADY FROM SHANGHAI

the lady from shanghai is such a peculiar eccentric batshit mess of a movie that could only have been made by a genius or a madman (or both). so much screentime is given to quirks & ticks, but they all accumulate & add to the nightmarish “otherness” of the feverish voyage.

also interesting is that unlike hitchcock (& many others), welles seems to bend over backwards to include as much of hayworth’s body in every shot as is possible (never cutting, never piecemeal). even her close-ups are gigantic in a way where the viewer is almost swallowing her, consuming her. the entire film is perfumed by her. now that’s love.

what an insane movie.