I’ve been thinking about this film lately so I watched a few clips on Youtube, I have a Japanese import dvd somewhere but I haven’t run across it in a while. The shots in the party scene are so amazing, so fluid, so space delicious , I don’t think their baroque splendor was reached until Fellini’s 8 1/2 and this was Welles 2nd film! The interesting sequence of Joseph Cotten trying on different types of clothing, shoes, hats illustrating the evolution of sartorial styles is unique in Cinema. The wonderful opening shot of the house and the horse drawn carriage that comes by and the orchestrated movement in the frame is unequalled in timing, simplicity, complexity. It’s not boring one shot that doesn’t move with a kind of Victorian vignetting, incredible. I read some where that Welles, enfant terrible of radio, recorded the dialog for the big dance scene as a radio play, worked with the actors till the timing was perfect, then played back the dialog on the set as they filmed and the actors had to say their lines in sync with the recording! It seems impossible but the scenes are obviously(to me) dubbed. And these are some intricately choreographed moving shots! With overlapping dialog no less. It really is unbelievable.
The way characters move from light into darkness, become silhouettes, then are illuminated again, so beautiful, tenebrae is the term for this dramatic lighting effect. The wonderful performances, all great.
The movie does have a kind of a downer tone that was out of sync with it’s time, WWII and all, probably why it tested poorly, but it was ahead of it’s time, it plays better now. Watch Joseph Cotten’s speech about the impact of the automobile on civilization, brilliant .
The idiotic regime that replaced Schaffer at RKO hated Welles, so did a lot of people in Hollywood, they resented this upstart and they didn’t understand him so they tried to destroy him. And they did a pretty good job, even though it was at a high price to themselves! If they had not reclaimed the silver from the original negative of Amersons by melting it down, they would have been able to release the Directors cut in theaters all over the world, on VHS, dvd, Blu Ray. They would have made a fortune from it. As a fortune was made from Citizen Kane over the years. I can think of no other lost film I would rather see than Welles cut of Ambersons. It’s like a dream, the idea of going into a theater and seeing the whole thing. Welles went to Rio to shoot “IT’s All True” before Ambersons was completed. Franklin Delano Roosevelt had persuaded his friend to take on this project to foster good feelings between South America and the USA, keep them from joining the Fascists. I read that Robert Wise sent a work picture and track down to Rio for Welles to watch and comment on. No one seems to know what happened to that print. Could it still be down there in rusty cans, in storage somewhere, in an old warehouse. The heat and humidity might have turned the nitrate film stock into highly explosive goo but maybe there’s a chance it was put in a cellar somewhere, a vault, and it exists. Lying there in the darkness ,the plastic realization of a young man’s genius, like frozen thoughts, Donovan’s Brain in it’s fish tank, waiting.
Welles on the Ambersons set, Robert Wise the editor 2nd from left. Welles blamed him for the hatchet job
Ambersons was one of the favorite films of Jean Pierre Melville. He speaks of it in a book of interviews I once read. He comments on a scene between Joseph Cotten and Anne Baxter (playing his daughter). How Mellville remembers seeing the “cottony trees” they were walking through even though the scene is in a close 2shot and you don’t get a good view of the surroundings, Welles created this unseen world in the viewers minds by the actors voices, a direct link to Radio.
Holt never really wanted to be an actor but he was born into it, Hollywood Royalty, a member of the Beverly Hills polo club. This was a big year for Tim, he appeared in Ambersons and The Treasure Of the Sierra Madre, not bad!
Welles did not appear in Ambersons but he did the voice over, and narrated the credits at the end, one of the first times a film appeared with no letters on the screen (other than the RKO logo and the main title). Once again Radio rears it’s antennaed head.
Future filmmakers beware! Never walk away from your film before it’s finished! Even if FDR and Rockefeller are beseeching you to do so! This action on Welles part not only “ruined his best film” but put a huge dent in his fledgling yet stratospheric career. A pattern that repeated itself throughout his films, he left Touch Of Evil to go down to Mexico to set up a new project, but that film fared much better than Ambersons, they even recut it following a 100 plus page memo Welles left behind. Oh well if only somebody stumbling out of a World Cup match wanders by mistake into an old film vault and kicks over a box and cans marked RKO spill out otherwise we’re left with the image from the end of Citizen Kane but it’s not Rosebud that’s consigned to the flames, it’s the missing negative of The Magnificent Ambersons.