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"Considered by many critics to be one of Welles's great works, the film gets a superb review in this first-rate anthology. . . . Recommended." --Film Study "This is a welcome addition to the growing collection of scripts of film classics, one to put on the shelf next to Welles's Citizen Kane. . . . Recommended." --Choice Welles is by consensus one of the most talented film directors who ever worked in Hollywood, and this flamboyant film--a 1958 exploration of the thriller form--is one of his greatest achievements. Comito's introduction considers the film's relation to the tradition of film noir and demonstrates how Welles's mastery of cinematic language transforms the materials of a routine thriller into a work that is at once a sardonic examination of the dark side of sexuality, and elegiac rumination on the loss of innocence, and a disquieting assault on the viewer's own moral and aesthetic certainties. Other contextual materials in the book include a biographical sketch of Welles; an important interview with Welles by Andre Bazin, Charles Bitsch, and Jean Domarchi, available here for the first time in English; an interview with Charlton Heston on the making of the film; representative reviews; critical essays by William Johnson, Jean Collet (translated especially for this book), and Stephen Heath; an analysis of the relation of the complete film to Welles's recently discovered shooting script; and a filmography and bibliography. The continuity script collates the two available versions of Touch of Evil and provides an invaluable, shot-by-shot guide through the visual and audio complexities of Welles's masterpiece.

Among the films inspired by Orson Welles's lifelong involvement with Shakespeare, the greatest is Chimes at Midnight (1966). It is a masterly conflation of the Shakespearean history plays that feature Falstaff, the great comic figure played by Welles himself in the film. For Welles, the character was also potentially tragic: the doomed friendship between Falstaff and Prince Hal becomes an image of the end of an age. To this epic subject Welles brings the innovative film techniques that made him famous in Citizen Kane, The Lady from Shanghai,"and Touch of Evil.This volume offers a complete continuity script of Chimes at Midnight, including its famous battle sequence. Each shot is described in detail and is keyed to the original Shakesperian sources, thus making the volume an invaluable guide to Welles as an adaptor and creator of texts. The first complete transcription of the continuity script of Chimes is accompanied by the editor's critical introduction on Welles's transformation of Shakespeare; a special interview with Keith Baxter, one of the film's principal actors, which discusses its production history; reviews and articles; and a biographical sketch of Welles, a filmography, and a bibliography.

Magician: The Astonishing Life and Work of Orson Welles looks at the remarkable genius of Orson Welles on the eve of his centenary - the enigma of his career as a Hollywood star, a Hollywood director (for some a Hollywood failure), and a crucially important independent filmmaker. Orson Welles's life was magical: a musical prodigy at age 10, a director of Shakespeare at 14, a painter at 16, a star of stage and radio at 20, romances with some of the most beautiful women in the world, including Rit

Magician: The Astonishing Life and Work of Orson Welles looks at the remarkable genius of Orson Welles on the eve of his centenary - the enigma of his career as a Hollywood star, a Hollywood director (for some a Hollywood failure), and a crucially important independent filmmaker. Orson Welles's life was magical: a musical prodigy at age 10, a director of Shakespeare at 14, a painter at 16, a star of stage and radio at 20, romances with some of the most beautiful women in the world, including Rit

The first of a comprehensive, two-volume biography traces Welles's portentous childhood, his youth in New York, where he worked with director John Houseman, his notorious radio career, and the making of Citizen Kane. 25,000 first printing. Tour.

The correspondence between Orson Welles and Peter Bogdanovich reveals Welles's true feelings about films, theater, the radio and television industries, and various Hollywood directors and stars. $25,000 ad/promo.

“A splendidly entertaining, definitive work.”—Entertainment WeeklyIn this first installment of his masterful biography, Simon Callow captures the chameleonic genius of Orson Welles as only an actor/director deeply rooted in the entertainment industry could. Here is Welles’s prodigious childhood; his youth in New York, with its fraught partnership with John Houseman and the groundbreaking triumph of his all-black Macbeth; the pioneering radio work that culminated in the notorious 1938 broadcast of War of the Worlds; and finally, his work in Hollywood, including an authoritative account of the making of Citizen Kane. Rich in detail and insight, this is far and away the definitive look at Orson Welles—a figure even more extraordinary than the myths that have surrounded him.

I found Orson Welles and Roger Hill: A Friendship in Three Acts fascinating, touching, and revealing of Orson and Roger. It certainly is the Orson I knew in all his complexity and brilliance. - PETER BOGDANOVICH, American film historian, director, writer, actor, producer, critic, and author I read A Friendship in Three Acts with absolute delight. At last I have got what I have been looking for in vain till now: the sound of Welles's private voice, the warmth, easiness, modesty, fantasy of which so many have spoken but which none have been able to reproduce... - SIMON CALLOW, English actor, writer, director, and author The major and longest-lasting close friendship of Orson Welles's life was with one of his earliest role models-his teacher, advisor, and theatrical mentor at the Todd School who later became the school's headmaster, Roger Hill. Hill's grandson, Todd Tarbox, has given us invaluable and candidly intimate glimpses into many of its stages... - JONATHAN ROSENBAUM, American film critic and author

Innovative film and theater director, radio producer, actor, writer, painter, narrator, and magician, Orson Welles (1915–1985) was the last true Renaissance man of the twentieth century. From such great radio works as "War of the Worlds" to his cinematic masterpieces Citizen Kane, The Magnificent Ambersons, Othello, Macbeth, Touch of Evil, and Chimes at Midnight, Welles was a master storyteller, as expansive as he was enigmatic. This Is Orson Welles, a collection of penetrating and witty conversations between Welles and Peter Bogdanovich, includes insights into Welles's radio, theater, film, and television work; Hollywood producers, directors, and stars; and almost everything else, from acting to magic, literature to comic strips, bullfighters to gangsters. Now including Welles's revealing memo to Universal about his artistic intentions for Touch of Evil, (of which the "director's edition" was released in Fall 1998) this book, which Welles ultimately considered his autobiography, is a masterpiece as unique and engaging as the best of his works.

Based on long-lost recordings, a set of riveting and revealing conversations with America's great cultural provocateurThere have long been rumors of a lost cache of tapes containing private conversations between Orson Welles and his friend the director Henry Jaglom, recorded over regular lunches in the years before Welles died. The tapes, gathering dust in a garage, did indeed exist, and this book reveals for the first time what they contain.Here is Welles as he has never been seen before: talking intimately, disclosing personal secrets, reflecting on the highs and lows of his astonishing Hollywood career, the people he knew―FDR, Winston Churchill, Charlie Chaplin, Marlene Dietrich, Laurence Olivier, David Selznick, Rita Hayworth, and more―and the many disappointments of his last years. This is the great director unplugged, free to be irreverent and worse―sexist, homophobic, racist, or none of the above― because he was nothing if not a fabulator and provocateur. Ranging from politics to literature to movies to the shortcomings of his friends and the many films he was still eager to launch, Welles is at once cynical and romantic, sentimental and raunchy, but never boring and always wickedly funny.Edited by Peter Biskind, America's foremost film historian, My Lunches with Orson reveals one of the giants of the twentieth century, a man struggling with reversals, bitter and angry, desperate for one last triumph, but crackling with wit and a restless intelligence. This is as close as we will get to the real Welles―if such a creature ever existed.

426-page guide to 50 Hollywood directors, starting with Orson Welles to Michael Ritchie in the years between 1941 and 1976

In this concise study, Nicole Brenez argues for Abel Ferrara’s place in a line of grand inventors who have blurred distinctions between industry and avant-garde film, including Orson Welles, Monte Hellman, and Nicholas Ray. Rather than merely reworking genre film, Brenez understands Ferrara’s oeuvre as formulating new archetypes that depict the evil of the modern world. Focusing as much on the human figure as on elements of storytelling, she argues that films such as Bad Lieutenant express this evil through visionary characters struggling against the inadmissible (inadmissible behavior, morality, images, and narratives).   

Noted film noir historians Alain Silver and James Ursini, acting as editors, concentrate in this work on the thirty key directors of the classic noir period. These include well-known luminaries, such as Orson Welles, Billy Wilder, Nicholas Ray, and Joseph Losey as well as lesser-known lights of noir, such as Gerd Oswald, Felix E. Feist, Ida Lupino, and John Brahm. Each article will include a short biography of the director, a list of their major noir films, as well as a deep analysis of the films themselves. The book boasts over two dozen collaborators from the world of film history and criticism. Lavishly illustrated with high-resolution photos illustrating the points made by the authors, this book is a must for any aficionado of the American style of film noir.

In this concise study, Nicole Brenez argues for Abel Ferrara’s place in a line of grand inventors who have blurred distinctions between industry and avant-garde film, including Orson Welles, Monte Hellman, and Nicholas Ray. Rather than merely reworking genre film, Brenez understands Ferrara’s oeuvre as formulating new archetypes that depict the evil of the modern world. Focusing as much on the human figure as on elements of storytelling, she argues that films such as Bad Lieutenant express this evil through visionary characters struggling against the inadmissible (inadmissible behavior, morality, images, and narratives).   

When Orson Welles arrived in Hollywood in 1939 to film Citizen Kane he discovered a town still top-heavy with glamour but he described the RKO Pictures as "the greatest electric train set a boy ever had". Legendary stars looked down from every screen and fabulous moguls ruled over a studio system that had been growing in strength for two decades or more. But even as Welles made his first wondrous tour of the RKO lot the handwriting was on the wall. In the decades since, Hollywood has become a staging area for multinational talent packages and the only really stars are those in the sidewalks of Hollywood Boulevard. Hollywood Directors 1941-1976 is a history of these crucial years told by those who made it happen: the directors who led the cinema revolution as well as those who perished in it. The questions, opinions, fears and desires are those written down in the heat of battle by fifty of Hollywood's most outspoken directors, including Hitchcock, Kubrick, Renoir, and Capra. Their topics range from Ben-Hur to Chuck Jones. In bringing together these articles, few of which have seen the light of day since their first appearance, Koszarski gives us a unique insight into the work of Hollywood's foremost filmmakers. From Orson Welles's first caustic comments on the producer system to the aggressive independent filmmakers of today, this is the inside story of one of the most hectic and exasperating years of Hollywood history. Richard Koszarski holds degrees from Hofstra University and New York University and is Professor of English and Film at Rutgers University and the editor-in-chief of Film History: An International Journal.

Suspenseful cat-and-mouse thriller features director/star Orson Welles as an escaped Nazi war criminal living as a teacher in a small Connecticut college town, with Edward G. Robinson as a federal agent tracking him down. The final chase scene in an old clock tower is a classic. With Loretta Young, Richard Long, Philip Merivale. 95 min. Standard; Soundtrack: English Dolby Digital mono; Subtitles: English; audio commentary; essay.

Citizen Kane, widely considered the greatest film ever made, continues to fascinate critics and historians as well as filmgoers. While credit for its genius has traditionally been attributed solely to its director, Orson Welles, Carringer's pioneering study documents the shared creative achievements of Welles and his principal collaborators. The Making of Citizen Kane, copiously illustrated with rare photographs and production documents, also provides an in-depth view of the operations of the Hollywood studio system.

Like The Man With No Name, one of his most famous roles, Clint Eastwood has always had an aura of tight-lipped mystery. He has long been an internationally famous star, first of television and then of the movies, and he has more recently joined a select group of Oscar-winning actor-directors, including Orson Welles, Charlie Chaplin and Woody Allen.But the real Clint has always been an enigma-until now. With this gripping and scrupulously researched biography, Patrick McGilligan, one of America's top film writers, has revealed the man behind the indelible image.Throughout his remarkable near-half century career, Eastwood has tended to play characters who are cold, hard and morally ambiguous-from Sergio Leone's "spaghetti westerns" through Hang Em High and Dirty Harry to In the Line of Fire and Unforgiven. No star is more the hero to his audience: a symbol of simple solutions, law & order, and rebellion against bureaucracy. But offscreen, Clint Eastwood has always been an arch manipulator: of women, friends and colleagues, publicity and finance.Always even-handed, managing to steer clear of both fawning over and unfair excoriation of its fascinating subject, this biography sheds definitive light on Clint as actor, director and human being.

No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, François Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact.From his first film (Citizen Kane) to his last (Taxi Driver), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often using unheard-of instrumental combinations to suit the dramatic needs of a film. His scores are among the most distinguished ever written, ranging from the fantastic (Fahrenheit 451, The Day the Earth Stood Still) to the romantic (Obsession, The Ghost and Mrs. Muir) to the terrifying (Psycho).Film was not the only medium in which Herrmann made a powerful mark. His radio broadcasts included Orson Welles's Mercury Theatre on the Air and The War of the Worlds. His concert music was commissioned and performed by the New York Philharmonic, and he was chief conductor of the CBS Symphony.Almost as celebrated as these achievements are the enduring legends of Herrmann's combativeness and volatility. Smith separates myth from fact and draws upon heretofore unpublished material to illuminate Herrmann's life and influence. Herrmann remains as complex as any character in the films he scored―a creative genius, an indefatigable musicologist, an explosive bully, a generous and compassionate man who desperately sought friendship and love.Films scored by Bernard Herrmann: Citizen Kane, The Ghost and Mrs. Muir, Vertigo, Psycho, Fahrenheit 451, Taxi Driver, The Magnificent Ambersons, The Man Who Knew Too Much, North By Northwest, The Birds, The Snows of Kilimanjaro, Cape Fear, Marnie, Torn Curtain, among others

No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, François Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact.From his first film (Citizen Kane) to his last (Taxi Driver), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often using unheard-of instrumental combinations to suit the dramatic needs of a film. His scores are among the most distinguished ever written, ranging from the fantastic (Fahrenheit 451, The Day the Earth Stood Still) to the romantic (Obsession, The Ghost and Mrs. Muir) to the terrifying (Psycho).Film was not the only medium in which Herrmann made a powerful mark. His radio broadcasts included Orson Welles's Mercury Theatre of the Air and The War of the Worlds. His concert music was commissioned and performed by the New York Philharmonic, and he was chief conductor of the CBS Symphony.Almost as celebrated as these achievements are the enduring legends of Herrmann's combativeness and volatility. Smith separates myth from fact and draws upon heretofore unpublished material to illuminate Herrmann's life and influence. Herrmann remains as complex as any character in the films he scored―a creative genius, an indefatigable musicologist, an explosive bully, a generous and compassionate man who desperately sought friendship and love.