By Judah Breitbach
“Inevitably, the need to make money creates the need for a certain kind of picture,” this overheard at the birthday party of one Jake Hannaford, movie director, dying breed. Hannaford may be less the member of a passing race, as much as an anomaly of that society. Moreover, his character is in the likeness of his creator, the late Orson Welles in his final work, “The Far Side of the Wind” recently released on Netflix.
The jigsaw puzzle of the film that Welles left behind at his death were pieced together by Editor Bob Murawski, giving us this new release.
Welles’ magnum opus, citizen kane, was so transcendent, it has become its own noun.
Reviews of his latest film theorize that it may be of interest to the garden variety cineaste – and absolutely essential for the diehard Wellesian scholar. But, shot in a frantic, bobbing and weaving sort of style on old eight and 16 millimeter cameras, I haven’t been as dizzy since last Friday night at around two in the morning.
An old adage of storytelling suggests that the storyteller offers the audience the problem two plus two so that they may solve for four themselves. Here, Welles seems closer to querying Hilbert’s 16th problem – which is, as of yet, unsolved.
The film garnered four out of five stars from the notoriously generous Peter Travers of “Rolling Stone” and an 81 percent fresh rating on “Rotten Tomatoes” as well as a 57 percent audience rating from the same site.
Hannaford, played by cinematic titan, John Huston, seems to be a caricature of Welles. A kind of polarizing figure – on one side there are those who clamor for his attention, as if it would feed their need for validation. Others sit back and plot against his downfall.
All the while, the fictional director’s own film production is falling apart around him. Welles seems to be attempting a posthumous curb stomp of Hollywood. Where ulterior intentions abound, money is the motivator, and film just simply isn’t what it used to be.
Perhaps the mumbo jumbo isn’t simply the ramblings of an addled celebrity, but rather a stark, abrasive commentary on movies at the end of Welles’s life and career. Buckle up (because you’ll want to leave) and watch for yourself to decide.
Ridіculous story there. What occurrеd after? Take care!
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