The Other Side Of The Wind „The Other Side of the Wind“ auf Netflix: Orson Welles ist’s auch egal
Nach mehreren Jahren in Europa kehrt der legendäre Regisseur Jake Hannaford nach Hollywood zurück. Mit seinem neuen Film, "The Other Side of the Wind", plant er sein Comeback. Die Dreharbeiten verlaufen allerdings alles andere als reibungslos. Es. The Other Side of the Wind ist ein Film von Orson Welles, der auf satirische Weise die Regie-Legende Jake Hannaford porträtiert, gespielt von John Huston. Entdecke die Filmstarts Kritik zu "The Other Side of the Wind" von Orson Welles: Der legendäre Regisseur Orson Welles („Citizen Kane“) ist seit tot. Es ist ein Plädoyer für eine Filmkultur der Waghalsigkeit: «The Other Side of the Wind», der letzte, unvollendete Film von Orson Welles, wurde. The Other Side of the Wind. 2 Std. 2 hecmontreal-alumni.eu Dieser vielschichtige Film von Orson Welles handelt von einem legendären Regisseur, der sein. Dass Orson Welles' begonnener Film "The Other Side of the Wind" noch einmal zu Ende gedreht werden würde, hatte kaum jemand für. Der letzte Film von Orson Welles erscheint aktuell auf Netflix, Jahrzehnte nach dem Tod des vielleicht größten Regisseurs aller Zeiten.
The Other Side Of The Wind The Other Side of the Wind Video
Scene from THE OTHER SIDE OF THE WIND from One Man Band
Nothing came of the project for a while, but work on the script resumed in Spain in , just after Welles had completed Chimes at Midnight. Early drafts were entitled Sacred Beasts and turned the older bullfight enthusiast into a film director.
At a banquet to raise funds for the project, Welles told a group of prospective financiers:. Our story is about a pseudo-Hemingway, a movie director.
So the central figure He's a tough movie director who has killed three or four extras on every picture Everybody thinks he's great.
In our story he's riding around following a bullfighter, and living through him He's been rejected by all his old friends.
He's finally been shown up to be a kind of voyeur Welles described the film's unconventional style to Peter Bogdanovich during an interview on the set:.
I'm going to use several voices to tell the story. You hear conversations taped as interviews, and you see quite different scenes going on at the same time.
People are writing a book about him—different books. All these witnesses The movie's going to be made up of all this raw material.
You can imagine how daring the cutting can be, and how much fun. Four of them. But most of it's got to be ad-libbed. I've worked on it for so long—years.
If I were a nineteenth-century novelist, I'd have written a three-volume novel. I know everything that happened to that man.
And his family—where he comes from—everything; more than I could ever try to put in a movie. His family—how they were competing with the Kennedys and the Kellys to get out of the lace-curtain Irish department.
I love this man and I hate him. John Huston confirmed that the film was photographed in a highly unconventional style: "It's through these various cameras that the story is told.
The changes from one to another — color, black and white, still, and moving — made for a dazzling variety of effects. At one point, Welles told him, "John, just read the lines or forget them and say what you please.
The idea is all that matters. In addition to the tightly edited montage of different styles for the main film, Hannaford's film-within-the-film was photographed in an entirely different style, at a much slower pace, as a pastiche of Antonioni.
Welles said at the time: "There's a film with the film, which I made [in ] with my own money. It's the old man's attempt to do a kind of counterculture film, in a surrealist, dreamlike style.
We see some of it in the director's projection room, some of it at a drive-in when that breaks down. Not the kind of film I'd want to make; I've invented a style for him.
Southwestern Studio was demolished in Other party scenes were shot in in a private mansion among the boulders of Carefree, not far from the studio, that was rented by Welles and used as his and other members of the company's residence during the shoot.
The opposite house on the same street was used in Michelangelo Antonioni 's film Zabriskie Point. Further party scenes were shot in Bogdanovich's own Beverly Hills house, which Welles stayed in for over two years in —, after the film's financial problems meant that the crew could no longer go on renting the Arizona studio and mansion.
Parts of the scenery from the previous shoot were redeployed to the Beverly Hills house. Other scenes were shot in Reseda where the drive-in cinema scenes were filmed in the same location as the climax of Bogdanovich's Targets , Culver City where the skyscrapers form the backdrop of some of Hannaford's film , Connecticut , France at Welles' house in Orvilliers , the Netherlands , England , Spain , Belgium , and the Metro-Goldwyn-Mayer back-lot in Hollywood.
The scenes shot on the M. Welles was smuggled onto the back-lot in a darkened van, while the rest of the cast and crew pretended to be a group of film students visiting the studio.
The crew was not confident that they would ever be able to access the back-lot again, and so filmed everything over one long, amphetamine-fuelled week-end in , without sleep.
The back-lot, which was seriously dilapidated, was demolished shortly afterwards, and only one more film — That's Entertainment! When Welles moved back to the United States in the late s, the script's setting changed to Hollywood , and second-unit photography started in August Principal photography in — focused on Hannaford's film-within-a-film.
Welles was initially unsure whom to cast as the film director and whether to play the role himself, finally settling in on his friend the actor-director John Huston.
The few party scenes shot before were shot without Huston, and often contained just one side of a conversation, with Huston's side of the conversation filmed several years later and intended to be edited into the earlier footage.
Filming ground to a halt late in when the U. Welles had to work on numerous other projects to pay off this debt, and filming could not resume until Some scenes were shot intermittently in , as and when cast were available as with Lilli Palmer's scenes, all shot in Spain without any other cast present ; but the film's main production block did not begin until early , when major shooting of the party happened in Arizona.
Filming resumed for an intensive four months of production in January to April , when most of the party scenes were shot, but principal photography was undermined by serious financial problems, including embezzlement by one of the investors, who fled with much of the film's budget.
Barbara Leaming described the situation in her biography of Welles, based on extensive interviews with Welles:. Shortly thereafter an equivalent sum was pledged by a French-based Iranian group headed by Mehdi B[o]ushehri, the brother-in-law of the Shah Dominique Antoine, a Frenchwoman, made the deal with Orson on behalf of the Iranians Orson left France with the understanding that the Spanish partner would act as intermediary with the Iranians in Paris But no sooner were Orson and Oja in Spain than trouble started.
Orson heard from the Spaniard who had flown in from Paris, that the Iranians had not given him the money they had promised.
There were heavy rains and flooding in Spain, so Orson and Oja were basically cooped up in their hotel, where they worked on a new script together. The Spaniard returned to Paris to try again.
Not until afterward did Orson discover that the Iranians had indeed been giving the Spaniard the promised money, which had come from Iran in cash , and that, instead of bringing it to Spain, the sly fellow was pocketing it.
Says Orson: "We just sat, month after month, while he went to Paris, received the money, and came back and told us that they wouldn't give him any money.
He was very convincing to us, and very convincing with them in Paris. He kept flying back and forth extracting money from them. We didn't know them , you see.
We knew him. His constant reassurance to Orson that the Iranians were about to come through was calculated to keep Orson in Spain out of contact with them.
On his part, Orson did not want to interfere in what he presumed were his emissary's delicate negotiations with them.
It simply never occurred to him that the fellow was lying—and had never any money of his own to invest in the first place Meanwhile, due to foul weather, Orson had decided to abandon Spain for Arizona, where John Huston and a host of other faithfuls joined him.
The swindler continued his game of collecting cash from the Iranians who, having heard only from him, still did not know that anything was wrong.
But this did not deter the swindler, who sent her a Screen Actor's Guild form with a bogus Social Security number and signature from the States.
After having sent the money, Dominique Antoine had second thoughts about it. Until now she had deliberately left Orson alone because she sensed he preferred it that way.
But now something told her there was a problem. He could not have been happy to see her. When almost instantly he asked her where the money was, she nervously told him that she had been making regular payments to the intermediary, who obviously hadn't passed them on to him, he broke down.
The film's producer Dominique Antoine subsequently endorsed the above account from Barbara Leaming as being "entirely accurate.
So I'm scared to death to be in Madrid. I know they're going to come after me with that bill. Regarding the end of my relationship with Orson Welles some lies were told, although he assured me they did not come from him.
I don't deem it relevant to mention the details of our split considering that our relationship was always polite and amicable and we had wonderful moments and experiences together.
However, I must make it clear that if I abandoned the project, I didn't do so for financial reasons.
My agreement with Welles, written and signed by him, envisaged my work as a producer, not an investor. Certain people who were close to Welles and part of his inner circle - the same ones who are spoiling his works and making a living from them—tried to justify his difficulties by linking them to the fact that I pulled out.
They have even gone so far as to say that I had pocketed some of the Iranian money which in fact never existed, beyond the funds that were spent appropriately.
I made a settlement with him, there was no complaint, there was no anything. If it was true, why didn't they make any claim from me, you know?
Josh Karp's book on the making of the film cited several pieces of documentary proof which support the allegation:.
There are two sets of documents that support this version of events. Additionally, it claims that the producer's company had misappropriated a whole or substantial part of the money received from Astrophore.
The audits repeat the accusation that the producer misappropriated money he was supposed to transmit from Astrophore to Orson. Grand Larceny is an extraditable offense and, as of May 5th I believe he will be considered a fugitive by both the State of Arizona and the United States.
His Federal Offense will be interstate flight to avoid Prosecution. In particular, although he had shot seven weeks of footage with Rich Little in one of the lead roles, the re-casting of Peter Bogdanovich in the role meant that many of the film's key scenes had to be re-shot.
Accordingly, in Welles moved into Bogdanovich's Beverly Hills mansion, where he lived on and off for the next few years, and where he intermittently shot more party scenes, until principal photography finally wrapped in January In February , Welles was awarded an AFI Lifetime Achievement Award, and used the star-studded ceremony as an opportunity to pitch for funding to complete the film.
With a touch of irony, one of the scenes he showed his audience featured Hannaford screening a rough cut of his latest film to a studio boss, in a bid for "end money" to complete his picture.
Sure enough, one producer made what Welles later called a "wonderful offer", but Antoine turned it down on the assumption that an even better offer would arrive.
No such offer came, and Welles later bitterly regretted the refusal, commenting before his death that if he'd accepted it "the picture would have been finished now and released.
Welles estimated that the editing of the film in a distinctive and experimental style would take approximately one year of full-time work which was how long he had spent on the experimental, rapidly cut editing of his previous completed film, F for Fake — like F for Fake , the film would have averaged approximately one edit per second, and would have lasted around half an hour longer.
On F for Fake , Welles had used three separate moviolas , arranged side-by-side, to simultaneously edit the film.
He would perform the cuts to the negative himself, then leave an editing assistant at each moviola to complete the edit while he moved to the next moviola to begin the next edit.
The Other Side of the Wind necessitated even more complicated editing, and Welles lined up five moviolas in a semi-circle around a table, with a staff of assistants to help him.
A change of management at the Iranian production company in resulted in tensions between Welles and the backers. The new management saw Welles as a liability, and refused to pay him to edit the film.
Welles made numerous attempts to seek further financial backing to pay him to complete the editing full-time, including attempting to interest a Canadian backer, but no such funding materialised, and so Welles only edited the film piecemeal in his spare time over the next decade, between other acting assignments which the heavily indebted actor-director needed to support himself.
The following dates are provided by Jonathan Rosenbaum's chronology of Welles' career: [27]. Welles filmed 96 hours of raw footage 45 hours for the party scenes, and 51 hours for the movie-within-a-movie , including multiple takes of the same scenes, reshoots with different cast members i.
Peter Bogdanovich substituting for Rich Little but did not complete the following elements: [29]. By , forty minutes of the film had been edited by Welles.
But in that year, the film experienced serious legal and financial complications. Welles' use of funds from Mehdi Boushehri, the brother-in-law of the Shah of Iran , became troublesome after the Shah was overthrown.
A complex, decades-long legal battle over the ownership of the film ensued, with the original negative remaining in a vault in Paris.
At first, the revolutionary government of Ayatollah Khomeini had the film impounded along with all assets of the previous regime.
When they deemed the negative worthless, there was extensive litigation as to the ownership of the film. By , many of the legal matters had been resolved and the Showtime cable network had guaranteed "end money" to complete the film.
However, continuing legal complications in the Welles estate and a lawsuit by Welles' daughter, Beatrice Welles , caused the project to be suspended.
When Welles died in he had left many of his assets to his estranged widow Paola Mori, and after her own death in , these were inherited by their daughter, Beatrice Welles.
However, he had also left various other assets, from his house in Los Angeles to the full ownership and artistic control of all his unfinished film projects , to his longtime companion, mistress and collaborator Oja Kodar , who co-wrote and co-starred in The Other Side of the Wind.
Since , Beatrice Welles has claimed in various courts that under California law, she had ownership of all of Orson Welles' completed and incomplete pictures including those which he did not own the rights of himself in his own life , and The Other Side of the Wind has been heavily affected by this litigation.
The latter claim has been supported by film critic Jonathan Rosenbaum , who has accused Beatrice of being solely motivated by profit in claiming royalties from these films, then settling out of court as studios have been keen to avoid costly legal battles.
Although the original negative of the film long remained in a Paris vault, two workprint versions of much of the raw footage were privately held - one by Welles' cinematographer Gary Graver , who shot the film, and one by Welles himself, who covertly smuggled a copy out of Paris after the legal difficulties started.
Kodar can be seen visiting a storeroom containing these materials in the Orson Welles: One Man Band documentary.
Over the years, there were repeated attempts to clear the remaining legal obstacles to the film's completion, and to obtain the necessary finance.
Marshall in particular was instrumental in getting several major studios in the late s to watch a rough cut, although most were put off by the film's legal issues.
Before a deal was put together in , Oja Kodar screened Gary Graver's rough cut of the film for a number of famous directors in the s and s, seeking their help in completing the film, but they all turned it down for various reasons.
These included John Huston who was by then terminally ill with emphysema and was unable to breathe without oxygen tubes , Steven Spielberg , Oliver Stone , Clint Eastwood and George Lucas.
Lucas reportedly claimed to be baffled by the footage, saying he didn't know what to do with it, and that it was too avant-garde for a commercial audience.
A turning point came in , when Mehdi Boushehri changed his mind, and was convinced by the film's surviving makers that his best hope of recouping his money was to see the film released.
He therefore compromised on his earlier claims to owning two-thirds of the film, and reduced the share he claimed.
This resolved several of the film's legal problems. Boushehri died in , but his heirs similarly accepted that the best hope of any return on Boushehri's investment was for the film to finally be released.
The deal struck with Boushehri led to funding being put up by the Showtime network, until the lawsuit from Beatrice Welles later that year stalled matters once more.
Peter Bogdanovich announced in that he planned to restore the film and release it soon thereafter. He cited a conversation before Welles' death in which "Orson said to me, 'If anything happens to me, you will make sure you finish it, won't you?
He pressed me to give some assurance. In , Oja Kodar expressed concerns about a proposed deal Beatrice Welles had made with Showtime to turn the film into a "kind of" documentary, with the intention of never allowing it to be released as a completed theatrical film.
Bogdanovich also stated in an April 2, , press report [40] that a deal to complete the film was " There were then further complications in , through the intervention of Paul Hunt.
He had worked on the film in the s as a Line Producer, an Assistant Editor, Assistant Camera Operator and Gaffer, and was described by Gary Graver 's son as "the strangest, weirdest guy you've ever met.
Together with his producing partner Sanford Horowitz, Hunt formed a company, "Horowitz Hunt LLC", and within three months had a signed deal with Mehdi Boushehri, with an option to acquire his rights of the movie.
In March , Bogdanovich said that there was over a year's worth of work left to be done, [39] and a month later, he filmed the opening of the Los Angeles vault where Oja Kodar had kept the workprint material cut by Welles, along with other positive film materials.
However, the full original negative remained sealed in a warehouse in France. Throughout the rest of , some work was done on the Los Angeles material.
In June , the Showtime Network set up an editing suite in Los Angeles, to begin preliminary logging in work on all of the material.
Bogdanovich personally directed the work, Tim King was the Showtime Executive in charge of post-production, Sasha Welles a nephew of Oja Kodar worked on the production as an Assistant Editor, and internships were advertised for people to work on cataloguing the film materials.
Horowitz Hunt LLC eventually began negotiations with Oja Kodar to acquire her rights, but they were unsuccessful in coming to terms with Kodar, when Beatrice Welles put an injunction on access to the negative stored at the LTC Film Vault in Paris, by proclaiming an inheritance claim, thus preventing the opening of the Paris vault containing the full 96 hours of original negatives, some of which had not even been seen by Welles in his lifetime.
This resulted in the closure of the Showtime editing suite in December , and Showtime eventually put the project on hold. An article in Variety in February stated that Showtime was still willing to pay for its completion, but they wanted to be sure all the materials existed.
The negative still resided in a vault in Paris, unseen since the s, but permission from all the estates had to be obtained before access to the negative could be granted.
Everybody wants it to happen. It's film history. It will be something for it to finally be seen after all these years. Bogdanovich indicated that the original negative was in excellent condition, with the picture quality being far superior to the poor-quality workprints seen in public so far.
In , he went on to say that he had examined the material himself, and told Canada's Toro magazine:. So we just used his takes and I could tell what he had in mind.
A report in The Guardian in January , suggested, once again, that a legal settlement was close and that a release would be possible in the near future.
Paul Hunt died in By , all copyright difficulties had theoretically been resolved between the respective parties.
However, the Showtime network, which had previously pledged to provide funding for the project, refused to specify what the budget would be.
Oja Kodar stated that she did not want a repeat of the debacle over Welles' posthumously completed Don Quixote , which was universally panned after being cheaply put together from badly decayed, incomplete footage which was sloppily edited, badly dubbed, and often incoherent.
As such, she would not grant permission to proceed until she had received assurances that the project will be done professionally, and to a high standard, with an adequate budget.
In March , Matthew Duda, the Showtime executive who had championed funding for The Other Side of the Wind since , retired, and this spelled the end of Showtime's involvement in the project.
With the withdrawal of Showtime, producer Filip Jan Rymsza intervened in what would ultimately be a successful bid that would break the film's deadlock.
Log in here. By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and Fandango.
Please enter your email address and we will email you a new password. We want to hear what you have to say but need to verify your account.
Just leave us a message here and we will work on getting you verified. A satisfying must-watch for diehard cineastes, The Other Side of the Wind offers the opportunity to witness a long-lost chapter in a brilliant filmmaker's career.
Rate this movie. Oof, that was Rotten. Meh, it passed the time. So Fresh: Absolute Must See! You're almost there! Just confirm how you got your ticket.
Cinemark Coming Soon. Regal Coming Soon. By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.
It's impossible to say whether the resulting product is what Welles would have created, but what exists certainly provides much food for thought.
Ben Sachs. Overall, Wind magnificently displays Welles' filmmaking brilliance while baring the aging auteur's frailties and frustrations.
Bill Keveney. Welles and his collaborators have made an almost weightless film of ellipses and shards; as the camera ricochets at surprising angles and scenes slide into one another, the project recalls the energy and dynamism of Jean-Luc Godard.
Lauren Carroll Harris. Having seen it, my overwhelming feeling is not exaltation but sadness. I look at this maddening pastiche and think of all the great movies he might have made.
Peter Rainer. Johnny Oleksinski. A cracked, corrosive, savagely compromised vision it unmistakably is. A mock documentary avant la lettre, Other Side of the Wind has a jagged syntax that would have felt startling in the '70s and, decades later, has lost little of its restless vitality.
Justin Chang. Matt Cipolla. The Other Side of the Wind is a fascinating, seriously flawed product of its time. With all its faults, it is important viewing for anyone concerned with the fate of art and society.
David Walsh. The latest film by Welles, shot in a false documentary style that flirts with metacinema, is an experimental drama that has a contagious ecstasy when it satirizes the artifices of Hollywood cinema.
Yasser Medina. An absolutely fascinating object. Not among Welles' greatest works, but irich and impressive. Adrian Martin.
Welles' last film is not as grandiose as it could have been. But it's still an interesting experiment about the toxicity of the industry. Federico Furzan.
What we're seeing isn't so much an Orson Welles film about the unknowability of the artist as it is that very unknowability made manifest. We were never going to see what Welles had originally intended; perhaps this best-case-scenario is rightfully obtuse.
Siddhant Adlakha. Top Box Office. More Top Movies Trailers. Certified Fresh Picks. Black Mirror: Season 5. Into The Dark: Season 2.
Lovecraft Country: Season 1. The Mandalorian: Season 1. Saturday Night Live: Season Orphan Black: Season 5.
Watchmen: Season 1. The Walking Dead: Season Certified Fresh Pick. View All. Holiday Movie Guide Fall TV Log in with Facebook.
Email address. Log In. First Name. Last Name. By signing up, you agree to receiving newsletters from Rotten Tomatoes.
You may later unsubscribe. Create your account Already have an account? Email Address. Real Quick. We want to hear what you have to say but need to verify your email.
Please click the link below to receive your verification email. Cancel Resend Email. The Other Side of the Wind Add Article. The Other Side of the Wind Critics Consensus A satisfying must-watch for diehard cineastes, The Other Side of the Wind offers the opportunity to witness a long-lost chapter in a brilliant filmmaker's career.
See score details.
Von Fans und Skeptikern umgeben, kehrt der erfahrene Regisseur J.J. „Jake“ Hannaford (John Huston) nach einem jahrelangen Aufenthalt in. The Other Side of the Wind. Drama | USA () | Minuten. Regie: Orson Welles. Kommentieren. Teilen. Anlässlich des Geburtstags eines einst. Neuste Artikel. Aufgrund finanzieller Schwierigkeiten zog sich die Produktion letztlich bis hin und wurde zu Lebzeiten von Orson Welles links vorne nicht vollendet oder veröffentlicht. Diese Woche: "Seen für iOS". Gehört Netflix bald die Welt? Dale lehnt ab und der betrunkene Hannaford beginnt die Autofahrt, die mit seinem Tod endet. Soko Köln Darsteller Gestorben anmelden. Wrong language? Kommentar Fingerbilder. But R. H. Thomson did not deter the swindler, who sent her a Screen Actor's Guild form with a bogus Social Security number and signature from the States. The latest film by Welles, shot in a false documentary style that flirts with metacinema, is an experimental drama that has a contagious ecstasy when it satirizes the artifices of Hollywood cinema. Not the kind of film Worden want to make; I've invented a style for him. You may later unsubscribe. Post-production was to be funded by pre-selling distribution rights, but in Lichtblick Filmtheater some potential distributors asked to see edited footage from the negative, not the worn workprint. Best Horror Movies.The Other Side Of The Wind - Ein schlechter Film in einem nervigen Film
NZZ Geschichte. Im März wurde bekannt, dass Netflix die weltweiten Rechte an The Other Side of the Wind erworben hatte, [4] um den bislang unvollendeten Film fertigzustellen. Blick zurück. The Market. National Society of Film Critics Awards Das Ergebnis ist ein Farce über affektiertes Hollywood-Gequatsche in den 70ern, unsympathische Menschen Vorwärts Immer Trailer bedeutungsschwangere Reden über Film und sich selbst. Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are James Mccaffrey as non-necessary cookies. Datum FSK Die DonT Move seiner Meisterwerke "Citizen Kane" etc. Für Filmliebhaber in aller Welt müsste dieser 2. Entstanden ist kein Film für die vielen, sondern ein ambitioniertes Avantgardewerk für veritable Ästheten und Cineasten. E-Mail Adresse:. Der Film wurde nicht fertiggestellt. August im Verena Mundhenke der Filmfestspiele von Venedig seine Weltpremiere. Das Ende? Nach dem Tod eines Medienmoguls stellt ein Reporter Recherchen über das Länderspiel Live Stream des von Welles selbst verkörperten Multimillionärs an. August im Rahmen der Filmfestspiele von Venedig uraufgeführt. Dass sich Netflix ein ums andere Mal Katherine Langford Naked schnappt, die eigentlich fürs Kino gedacht waren, das ist oft von negativen Gefühlen begleitet.
