IMDb > Mr. Arkadin (1955)
Mr. Arkadin
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Mr. Arkadin (1955) More at IMDbPro »

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Overview

User Rating:
7.4/10   4,491 votes »
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Director:
Writers:
Orson Welles (story)
Orson Welles (screenplay)
Contact:
View company contact information for Mr. Arkadin on IMDbPro.
Release Date:
2 October 1962 (USA) See more »
Tagline:
Two words whispered, two men dead... See more »
Plot:
An American adventurer investigates the past of mysterious tycoon Arkadin...placing himself in grave danger. Full summary » | Full synopsis »
Plot Keywords:
User Reviews:
Welles struggling against the odds See more (55 total) »

Cast

  (in credits order) (verified as complete)

Orson Welles ... Gregory Arkadin

Michael Redgrave ... Burgomil Trebitsch

Patricia Medina ... Mily

Akim Tamiroff ... Jakob Zouk

Mischa Auer ... The Professor
Paola Mori ... Raina Arkadin
Katina Paxinou ... Sophie
Grégoire Aslan ... Bracco

Peter van Eyck ... Thaddeus
Suzanne Flon ... Baroness Nagel
Robert Arden ... Guy Van Stratten
Jack Watling ... Marquis of Rutleigh
Frédéric O'Brady ... Oscar (as O'Brady)
Tamara Shayne ... Woman in Apartment (as Tamara Shane)
Terence Longdon ... Secretary (as Terence Langdon)
Annabel Buffet ... Parisian woman with bread (as Annabel)

Gert Fröbe ... First Policeman - Munich (as Gert Frobe)
Eduard Linkers ... Second Policeman - Munich (as Eduard Linker)
Manuel Requena ... General Martinez
rest of cast listed alphabetically:
Pedro Vidal
Emilio Fornet ... Party Guest (uncredited)
Manolita G. Fraile ... (uncredited)
José González Talavera ... (uncredited)
Mateo Guitart ... (uncredited)
Gordon Heath ... Pianist (uncredited)
Gary Land ... (uncredited)
Vicente Martín ... (uncredited)
Sergio Mendizábal ... (uncredited)
Anne-Marie Mersen ... Uncredited (uncredited)
Antonio Molino Rojo ... (uncredited)
Sergio Orta ... (uncredited)
Carmen Rambla ... (uncredited)
Gustavo Re ... Italian police in Naples port (uncredited)
Robert Rietty ... Airport Control Tower Operator (uncredited)
Emilio G. Ruiz ... (uncredited)
Jacinto San Emeterio ... (uncredited)

Directed by
Orson Welles 
 
Writing credits
Orson Welles (story)

Orson Welles (screenplay)

Produced by
Louis Dolivet .... producer
Orson Welles .... producer
 
Original Music by
Paul Misraki 
 
Cinematography by
Jean Bourgoin 
 
Film Editing by
Renzo Lucidi 
William Morton (uncredited)
Orson Welles (uncredited)
 
Art Direction by
Orson Welles (uncredited)
 
Set Decoration by
Gil Parrondo (uncredited)
Luis Pérez Espinosa (uncredited)
 
Costume Design by
Orson Welles (uncredited)
 
Makeup Department
Roy Ashton .... makeup artist (uncredited)
Arcadio Ochoa .... makeup artist (uncredited)
Francisco Puyol .... makeup artist (uncredited)
 
Production Management
Michel Boisrond .... production manager (uncredited)
Juan N. Solórzano .... production manager: Spain (uncredited)
 
Second Unit Director or Assistant Director
Isidoro M. Ferry .... assistant director (as Ferri)
José María Ochoa .... assistant director (as Jose Mario Ochoa)
José Luis de la Serna .... assistant director (as De La Serna)
 
Art Department
Francisco Prósper .... construction coordinator (uncredited)
Enrique de la Riva .... property master (uncredited)
 
Sound Department
Jacques Carrère .... sound re-recordist (as Jacques Carrere)
Jacques Lebreton .... sound
Jaime Torrens .... sound engineer: Spain (uncredited)
 
Camera and Electrical Department
Paul Rodier .... camera operator
Louis Stein .... camera operator
Félix Mirón .... additional cinematographer (uncredited)
Julio Ortas .... still photographer (uncredited)
Rafael Pacheco .... still photographer (uncredited)
Raúl Pérez Cubero .... additional camera operator (uncredited)
 
Editorial Department
Colette Cueille .... assistant editor
Lolita López .... assistant editor (uncredited)
 
Music Department
Antoñita Moreno .... saeta singer (uncredited)
 
Other crew
Johanna Harwood .... script clerk (as Johanna Horward)
Jacques Laird .... researcher (as Jacqueline Laird)
Julio de Fleischner .... supervising director (uncredited)
Alfredo Ruescas .... production assistant (uncredited)
Tadeo Villalba .... production assistant (uncredited)
Billie Whitelaw .... dubbed voice: Paola Mori (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
93 min | France:95 min (Cannes Film Festival) | USA:98 min (TCM print) | USA:105 min (2006 Restored Version)
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (RCA Ultraviolet High Fidelity Sound System)
Certification:
Australia:PG | Finland:K-16 | Sweden:15 | UK:A (original rating) | UK:PG (re-rating) | USA:Not Rated | West Germany:16 (f)
Company:

Did You Know?

Trivia:
The novel and the screenplay were both based on an episode in the radio series, "The Lives of Harry Lime", in which Welles played his Harry Lime character as rather less villainous that he was in The Third Man (1949). In "Mr. Arkadin", the Harry Lime character is renamed "Guy van Stratten" and is played by Robert Arden, while Welles plays Arkadin. The radio episode was number 37 in the series, entitled "Man of Mystery," and first broadcast on 11 April 1952. The introduction to the episode also describes the movie: "One late afternoon a couple of years ago, a plane was sighted about seventy miles out of Orly Airport in Paris. It was a private plane, medium sized, and nobody was in it; nobody at all. The plane, keeping its course steadily toward Paris, was flying itself. Why was it empty? Who had been flying it? And why, and under what circumstances, had they left it? Why? Thereby hangs a tale."See more »
Goofs:
Continuity: When he meets Guy van Stratten, Jakob Zouk's beard is much heavier in close-ups.See more »
Quotes:
Gregory Arkadin:A scorpion wanted to cross a river, so he asked the frog to carry him. The frog refused because the scorpion would sting him. That would not be logical, explained the scorpion, because if he stung the frog they would both drown. So the frog agreed to carry the scorpion. Half way across, the frog felt a terrible pain - the scorpion had stung him. There is no logic in this, exclaimed the frog. I know, replied the scorpion, but I cannot help it - it is my nature.See more »
Movie Connections:
Soundtrack:
O TannenbaumSee more »

FAQ

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27 out of 36 people found the following review useful.
Welles struggling against the odds, 6 September 2005
Author: tostinati from United States

Did I ever mention that I watched Mr. Arkadin every day for three months once? And that I recently bought a version of it different from the one I bought years ago (supposedly the UK print), and enjoyed it like I was seeing it for the first time?

Welles is a childhood hero. There's nothing rational about my feelings about Welles. If there are Welles fan boys, I admit to being one. But I have entertained the notion that I like Mr. Arkadin (also called Confidential Report, sometimes) as much as I do because it so completely betrays Welles as a titanic artist having to deal with the small frustrations and vicissitudes of Everyman. The bones of the thing, the behind the scene life of the film, the fact that the whole thing at one point passed through the man's hands shows through more than on any film he ever made. You actually see the customs stamps at the end of reels! His stratagems are more obvious, his resources more threadbare here than even Othello, his most legendary prolonged/disjointed/truncated shoot. Parts of it look shot on Super8; as good as some of it looks, at other times, the lighting doesn't feel professional (I am thinking of the nightclub and penitent procession scenes). In the end, I think Arkadin is the one completed and released Welles film that humanizes the man, without exactly bringing him low.

Clinching my interest in the film is Welles' comment, reiterated for different interviewers through the years, that Arkadin contained the best story he ever thought up to film. (He made a radio script of it first, and when he refined it for film, he saw fit to keep perhaps 95% intact from the radio play.) I may not agree with Welles' own appraisal of Arkadin as a story, but again, his comments betray perhaps more than intended: Welles' deep, and possibly irrational, feeling of attachment to this film. He said he considered it the most 'destroyed' film (destroyed by outside interference) he ever made. --Worse even than The Ambersons! I really think he never had "closure" with the experience of making Arkadin, and it continued to haunt him the rest of his days.

I invite you to take a look at it (it is available in many cheap public domain DVD versions) and see if you, too, fall under its spell. If it leaves you totally cold, or you can't take it seriously, I understand. But remember, better and worse DVD versions exist. Supposedly, the Criterion Collection will release it sometime in the next couple of years. That may be the version to make your definitive move with.

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