I wrote earlier about Orson Welles unfinished last film, The Other Side of the Wind, and attempts to finish it by others since his death.
Orson Welles has been gone for more than 30 years and his last feature film (F for Fake) was released 15 years before that. It has been a long time since we had a new Welles film.
I have had mixed feelings about this “new” film release since it was hot in bits and pieces over the years whenever Welles had some money to proceed. Now, it has been completed by others.
Orson probably would have loved streaming services like Netflix producing films – especially with their generally hands-off approach.
The Other Side of the Wind debuted at the Venice Film Festival in advance of its November 2nd release. Bruno Ghetti of Brazil’s Fohla de S.Paulo wrote, “It’s a film with clearly a beginning, a middle and end. And given the complication of production, surprisingly it does not appear to have been completed by someone other than the one who started the assembly four decades ago. The Other Side of the Wind may even be a mess, but it’s a pretty consistent mess. And fascinating in its madness.”
The film was shot by Welles between 1970 and 1976. The making of the film is the subject of at least one book and a documentary, They’ll Love Me When I’m Dead (Netflix). The film went into a kind of editing limbo at one point because of the Iranian Revolution! (Some of its financing had come from the Shah’s brother-in-law.)
“The Other Side of the Wind” is also a film-within-the-film. That faux film is an artsy “New Hollywood” kind of movie that was in vogue while Welles was shooting which he seems to dismiss..
As the trailer shows in bits, the film has a documentary style shooting, quick cutting, and switches back and forth between color and black and white (probably as much for financial reasons as artistic ones.). I suspect the styles also vary based on when Welles was shooting and under what conditions. And we can’t ignore the impact of those who have completed the film without his involvement.
There are plenty of film references and appearances by other directors. The film’s star is John Huston and Welles’ good friend Peter Bogdanovich plays a filmmaker. Other filmmakers include Norman Foster, Claude Chabrol and Dennis Hopper. Those three directors span a lot of world cinema history.
Will I watch the film? Of course. Welles told Huston when they were shooting: “It’s a film about a bastard director. It’s about us, John. It’s a film about us.” (Orson Welles’s Last Movie: The Making of The Other Side of the Wind)