Blake Pellarin is on the campaign trail to become governor of the state of Missouri. While making a stop in St. Louis, a chance encounter brings his past back to haunt him. Will the truth ... See full summary »
Internationally acclaimed novelist Paul Auster ("New York Trilogy", "The Book of Illusions", "Man in the Dark") explores the art of writing in the darkly comical THE INNER LIFE OF MARTIN ... See full summary »
In a time of crisis, a young boy tries to make sense of the fine line between fantasy and reality in this drama from Spain. Nicolas (Ricardo Darin) is a toy designer who has married Ingrid ... See full summary »
Charts the misadventures of expatriates in Rio in their bungled search for both personal pleasures and social justice. Each character reveals a different aspect of the fabled city, from Rio high society to favelas.
Harry Donovan is an art forger who paints fake Rembrandt picture for $500,000. The girl he meets and gets into bed with in Paris, Marieke, turns out to be an arts expert Harry's clients are... See full summary »
People and life can be cruel, and in their face, Fannette is cool: toward an old acquaintance, to her daughter, to colleagues. Beneath the surface, she roils with passion for a lost love, ... See full summary »
Bernard Le Coq
Two girls meet on a train: Prune is looking for her father whom she has not seen since she was a little girl, Marina is looking for the mother she has never had. Prune learns that her ... See full summary »
Orson Welles' archives of unfinished/never released movies and the last years of his life from the perspective of Oja Kodar (life and artistic partner Of Orson Welles in his last years). ... See full summary »
Blake Pellarin is on the campaign trail to become governor of the state of Missouri. While making a stop in St. Louis, a chance encounter brings his past back to haunt him. Will the truth ruin his chances for office or will he land the "Big Brass Ring"? Written by
The film contains numerous Shakespearean references, including direct quotes from the Bard's plays. See more »
In the scene just after Blake (Hurt) and Brandini (Jacob) make love, she is still in bed and is trying to encourage Blake to come public with the truth. She suggests that she might expose him if he doesn't. Blake then yanks the bed covers off exposing her completely naked body. But in the next second, closeup, she is seen with something covering her from the waist down. See more »
Abraham Lincoln said it best: it is common enough that we triumph under adversity, but if you truly wish to test a man's character, give him power.
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Many viewers have raised the issue about how true or false this film is to the original screenplay Orson Welles developed in 1982 with Oja Kodar. Because I wrote the many final drafts of the screenplay directed by George Hickenlooper, I can comment with authority. (Fear not -- I'll avoid spoilers.)
On the surface it is a very free adaptation. Underneath, it is highly faithful... Welles's original script was set in Spain and the Congo. We set ours along the Mississipi and in Cuba. Nevertheless, the characters have kept their original names and essential personalities through the many adaptations George and I devised (whether separately or together) between 1991 and '98.
Welles's tale centered on a Presidential hopeful who escapes his wealthy wife's yacht and pursues a clandestine adventure with his aged political mentor (a part Welles wrote for himself). This grand sage, a fallen Lucifer of American politics, was a candidate for President in his own prime -- until he was outed as a homosexual. In Welles's original, the two old friends engage in a psychological chess match involving a long-vanished woman they both know. In ours, they play an equally rough game over a long-lost brother.
(Welles himself had a troubled brother, Richard, who shadowed him throughout his life. THAT felt like a deeper wound to explore in Welles's wake than the ghost of a missing mistress.)
In both versions, the reunion between the hero and his old mentor sparks a dark merry go round of busy pursuits. An ambitious reporter modeled on Italy's Oriana Fallaci chases Blake and flirts with him, and tries to penetrate the secret of his soul, particularly his connection to the old man. The candidate's wife (jealous of the mentor) schemes and looses a murderous espionage agent on the old man's tail.
Details vary, sometimes wildly, between what Welles conceived and what we executed. My wish in retrospect is that we had played certain cards face up in terms of story secrets. (I won't say which ones here -- no spoilers!) More and more, I'm convinced that Hitchcock was right to keep as few secrets as possible from HIS audience. Less confusing AND more suspenseful!
Were we wrong to take liberties? No. A film must be a living thing. As Welles always advised young filmmakers, "Be Bold!" He is after all the guy who conflated five Shakespeare plays into a single new one centered on the character Falstaff -- CHIMES AT MIDNIGHT.
I'm giving this movie only a "7 out of 10" out of respect to everyone who adds posts to this board yet is NOT one of the filmmakers. (I'm too close to be objective: My heart says, "Give it a ten." Flaws and all, I'm very proud of it.)
I can offer one bit of impartial praise: William Hurt, Nigel Hawthorne, Miranda Richardson, Irene Jacob, Jeff Mayes and Ewan Stewart all give superb, multi layered performances. Welles could have asked for no better group to embody the characters he originated.
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