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Dolores del Rio
Guy Van Stratten, American smuggler, leaves an Italian prison term with one asset, a dying man's words about wealthy, mysterious Gregory Arkadin. Guy finds it most pleasant to investigate Arkadin though his lovely daughter Raina, her father's idol. To get rid of Guy, Arkadin claims amnesia about his own life prior to 1927, sending Guy off to investigate Arkadin's unknown past. Guy's quest spans many countries and eccentric characters who contribute clues. But the real purpose of Guy's mission proves deadly; can Guy himself survive it? Written by
Rod Crawford <firstname.lastname@example.org>
The credits read "And introducing Paola Mori". However, she had been in at least four films prior to this. The credits also imply the "And introducing" refers to Robert Arden as well, who also had had at least two credited big screen performances. See more »
When the camera is facing Guy and Mily as they are watching the religious procession, he is standing to her left. When the camera is behind them, he is standing to her right. See more »
I knew what I wanted. That's the difference between us. In this world there are those who give and those who ask. Those who do not care to give... those who do not dare to ask. You dared. But you were never quite sure what your were asking for.
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You guys are great...so much interesting, smart stuff in all the comments. What can I add? Well, I saw it last night, and I was thinking about The Auteur Theory and Roland Barthes' thoughts about the one big book of which all books are a part. And, although I haven't seen Alphaville for years, I realized that the connections between these two films are important: the Mizraki score and the performance of Akim Tamiroff.Godard is such a great mannerist, and this film (Arkadin) is such a basic text for director - driven cinema. How can this film mean anything to anyone who doesn't understand the rage to create - against all odds, against one's self-destructive nature, against one's death wish? It is "breathless", truly. Scenes never give the impression of ending, everything is done in overdrive, people are constantly looming, dizzyingly moving in and out of shot; the grotesquerie of the bad acting rhymes with the grotesquerie of the costume set pieces and with that of the B movie Euro - freak character actors parading, one by one, in front of the camera for their star turns. "Feeding time" indeed! I saw Arkadin shortly after seeing Spielberg's Munich. The only similarity is in the constant change of location. But where in the Spielberg this functions as a celebration of money, budget and the power of illusion, here each location is both overcrowded and threadbare. The Munich of Arkadin is a bombed-out nightmare with traces of its former elegance. The Europe of this film is so haunted and sleepwalking; the world of this film is made up of bits and scraps.
The fact that Arkadin connects closely to Kane or Quinlan is obvious and certainly interesting. Although it should seem obvious at this late date that Welles has patterns and themes that reoccur throughout his films. Does this fact still illuminate anything? If anybody questions the fact that Welles is an artist...well, this film will just add to their confusion. But for us believers this film can function like the ritual suffering of the penitents in the film. It hurts so good!
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