Follows tour guide, historian and flâneur Timothy 'Speed' Levitch as he visits the monumentally ignored monuments of America's cities, from the shoe gardens of San Francisco to the luckiest subway grate in New York City.
Timothy 'Speed' Levitch,
John C. McDonnell,
A nameless young character goes into travels to the country, meeting some acquaintances and strangers as well, having banal conversations, dedicating his existence into daily mundane ... See full summary »
In November 1937, high school student and aspiring thespian Richard Samuels takes a day trip into New York City. There, he meets and begins a casual friendship with Gretta Adler, their friendship based on a shared love and goal of a profession in the creative arts. But also on this trip, Richard stumbles across the Mercury Theatre and meets Orson Welles, who, based on an impromptu audition, offers Richard an acting job as Lucius in his modern retelling of Julius Caesar, which includes such stalwart Mercury Theatre players as Joseph Cotten and George Coulouris. Despite others with official roles as producer John Houseman, this production belongs to Welles, the unofficial/official dictator. In other words, whatever Welles wants, the cast and crew better deliver. These requests include everything, even those of a sexual nature. Welles does not believe in conventions and will do whatever he wants, which includes not having a fixed opening date, although the unofficial opening date is in ... Written by
The author of the source material did not know anything about Arthur Anderson (the original actor who played Julius Cesar). He based it on the premise of a still photo of the teenage Anderson playing alongside Welles opening night. In reality, Anderson did not get fired and not only made it through the entire run of the show but was cast in two more of Welles' plays. See more »
When Orson and Richard go to the dressing room to check on George Coulouris, as they turn the corner, Orson is in a suit. When we see them complete the turn in the next shot, Orson has on a black trench coat. See more »
By the year of 1592, Shakespeare was already an actor, and a playwright. Records of how his stage career began have not survived. We do know that in 1594 he joined a theater troupe. Called... anyone remember? Not everyone at once now. The Lord Chamberlain's Men.
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Gilson Lavis is listed as "Drumer" instead of "Drummer". See more »
The great Orson Welles (1915-1985) is mostly famous as the director of the legendary Citizen Kane, and as the writer, actor and producer of the remarkable radio adaptation of War of the Worlds, which caused panic in the United States in 1938, when many people thought it was a real broadcast which announced the extraterrestrial invasion.But before all that, Welles founded the theater company Mercury in 1937, where he started to tune his acclaimed style.And very few things show it better than his ingenious adaptation of Julius Caesar, William Shakespeare's iconic work, in which he moved the action to Mussolini's fascist Italy.The film Me and Orson Welles weaves reality and fiction in order to tell us the adventures from Welles and his company during the preparation of that staging.The result is interesting and very entertaining, but not perfect.
Me and Orson Welles is not a biography of Welles or a serious analysis of his innovative version of Julius Caesar, but it should have may been like that.I liked this film pretty much, because the performances are good and the screenplay is always very interesting.But the plot covers so many interesting stuff that I did not feel it deepened on it as much as I would have liked.However, despite that, the film is very good, because it has various positive elements.
Claire Danes brings conviction and enthusiasm to her character, at the same time she adapts herself very well to the movie's style.Zac Efron brings a decent performance; however, he gets darkened on various occasions by Danes and specially, Christian McKay, who steals the show as Welles.The force from his performance and his overwhelming presence make him the central figure from the movie, even when he does not appear on scene.
Before watching Me and Orson Welles, I had the slight awe that director Richard Linklater's melancholic and vanguard style was not going to fit very well on a period film (as it had happened in The Newton Boys); however, it fortunately resulted to be very compatible in here, because it keeps a naughty wink to classic Hollywood conventions without loosing the dynamism and structure required to attract modern audiences.So, I think this movie deserves a safe recommendation, because even though it is not great, I enjoyed it pretty much.
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