IMDb > Confidential Report (1955)
Mr. Arkadin
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Confidential Report (1955) More at IMDbPro »Mr. Arkadin (original title)

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Overview

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7.4/10   4,586 votes »
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Down 23% in popularity this week. See why on IMDbPro.
Director:
Writers:
Orson Welles (story)
Orson Welles (screenplay)
Contact:
View company contact information for Confidential Report 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:
There Really IS no "Original" version after all! 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


Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
"Mr. Arkadin" - France (original title)
See more »
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 voice of the announcer at Munich Airport is that of director Orson Welles.See more »
Goofs:
Miscellaneous: A shot near the end of the movie, with Raina resting her head on the steering wheel of her car, is extended by looping the film several times. This becomes obvious because a man's shadow keeps appearing and disappearing in a gate behind her.See more »
Quotes:
Gregory Arkadin: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.See more »
Movie Connections:
Soundtrack:
Stille Nacht, heilige NachtSee more »

FAQ

This FAQ is empty. Add the first question.
51 out of 63 people found the following review useful.
There Really IS no "Original" version after all!, 14 April 2006
Author: curtis martin from Bothell, Washington, Land of Rain

I've always liked Orson Welle's "Mr Arkadin." At least I've been compelled to watch it an awful lot of times, in any case. So I must like it, right? Actually, I think a big part of the reason why the film is so fascinating, to regular folk like me as well as to film historians, is that it is so obviously incomplete and unfinished. This is both the film's greatest weakness and its most intriguing strength. The film "Mr Arkadin" is just as mysterious as the character it is named after. This is yet another film Welles made that was taken from him during the editing stages by the people putting up the money.

Until the recent release of the exhaustive Criterion "Complete Mr. Arkadin" DVD set, all I had to go on were tapes and discs of various, beat up public domain versions and a nice Janus tape of the "Confidential Report" version that is widely known to be a re-edit of Welles' "original" cut.

However, now, after having seen the famed "Corinth" version as well as Criterion's "Comprehensive" version, I doubt that there ever really WAS a Welles cut of this film. He was obviously a compulsive tinkerer who liked to massage the story in the editing room. Therefore, we can't really know what version is "closest to Welles' intentions," we can only guess at which ones are closest to the intentions he had at the moment the producer took the film from him. I have no doubt that if he'd been given all the time to edit he wanted, the film would have completely changed a dozen more times.

If you closely watch first half hour or so of the versions that are supposedly "closer to Welles' vision," this is apparent. These are the scenes between Arden's Van Stratten and Tamiroff's Zouk that set up the flashback within a flashback format that Welles himself has been quoted as saying was absolutely vital to his vision. But if you watch closely during the scenes between Van Stratten and Zouk, it is obvious that virtually none of Arden's lip movements come anywhere near matching what he's saying on the soundtrack. And I'm not talking about the usual Welles problem of the voices not exactly matching the lips—I'm talking a complete disconnect. These scenes were originally filmed with much different dialog. Interestingly if you watch Laserlight's release of the American 'no flashbacks' version you can catch bits of this original dialog (why wasn't that version included in Criterion's 'Complete' set?).

I think that Welles came up with the flashback idea well after principal photography was finished and then had Arden dub in different lines to make the flashback format work. It looks to me like his original plan was a linear story, like the novel, and then he had the idea to make it a "Citizen Kane" type series of flashbacks after the fact. So even Welles' "original vision" wasn't his "original vision."

But the film is still fascinating, and the new, "more complete" Criterion versions do make more sense than the public domain versions that have been floating around. There are more establishing shots, better transitions, slightly fuller characterizations, and much better sound. But the first twenty minutes is still a mess. The story lurches and jumps, asking us to accept too many crazy things too quickly and losing us for a while. There seems to be at least twenty minutes worth of material missing. So far I haven't seen or read anything in the Criterion set to suggest that more material from the early part of the film exists, but I did read a fascinating blog article by a gentleman who claims to have seen a working print preview of "Arkadin" in England back in the 50s. As of this writing, it can be found here: http://www.epinions.com/mvie-review-7A18-458AFFD2-3A4C153E-prod3. In this article, the guy describes many scenes of exposition in the early part of the story that do not exist in any available film version. For instance: 1) In the prolog, we not only see Mily's dead body on the beach (a rare shot restored in the Criterion version) but also a close up of her face and eyes. And on the soundtrack we hear Van Stratten eulogizing her. 2) There was a rather involved scene showing Zouk actually being released from prison (in the released version, we are just told that this happened in dialog).

If this account of what must have been one of the first public showings of any version of "Arkadin" is true, that also says to me that Welles was compulsively noodling around with the film, changing it, rearranging it, cutting it to bits, well before his backers took it away from him and edited it themselves. And if we believe that these bits existed, there's no reason not to believe that other footage also existed. But I don't think we can assume he was necessarily making it better with each change, either.

I think that one of two things would have had to have happened for there to have ever actually been a true "final cut": 1) Welles would have had to accept collaborators to help him decide when to quit editing (as he had during "Kane" with Mankiewicz and Houseman) or 2) he would have had to have been given as much time as he wanted to edit. I think option one would have been the better choice—from the state of any version of the film available, I think it is obvious that he would have tinkered with it until he freaking died.

Making great art is not simply a matter of "doing it until it's right." It is also a matter of knowing when to stop. Arkadin is a fascinating study of an artist who didn't know when to--or didn't really want to--stop. But I still love the mystery.

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