Macbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.
The Moorish General Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his Lieutenant Michael Cassio when in reality, it is all part of the scheme of a bitter Ensign named Iago.
From the lips of a dying man at a dimly-lit Italian dock, Guy Van Stratten, the disreputable American fortune hunter, receives invaluable information about the powerful financial titan, Gregory Arkadin. In high hopes that something good might come of it, Guy finally approaches the multi-million tycoon intent on exploiting him, only to be mysteriously hired by Mr Arkadin, to reconstruct his murky past history prior to 1927 instead. But, as the methodical detective scours the globe to put together the dangerously knotty puzzle, people end up dead, gradually closing in on Van Stratten who begins to shed light on this murderously difficult assignment. Are those cases linked together? In the end, has the reclusive magnate something to hide?Written by
In the final scene of Orson Welles's 1955 film Mr. Arkadin, a pair of Pegaso Z-403 coaches appear prominently close to an aircraft in an airport (actually, Madrid Barajas airport, the coaches belonging to Iberia airlines). See more »
The shadows of the crew and camera operator are clearly seen at the very end of the film when the convertible drives off. See more »
Guy Van Stratten:
Oh, you don't want to talk. That's what Oscar said.
O-O-Oscar, he's a drug addict. He'll never be well.
Guy Van Stratten:
I almost made him well. I got him out in the water. Took away his needle.
[Cut to new scene inside a sail boat]
I don't need to play my music for a pleasure cruise. Pleasure?
I don't know how long we've been out on this boat? For how many days I've been without?
Guy Van Stratten:
Without your heroin!
You didn't throw it away did you?
Guy Van Stratten:
You'll get your junk when you start to talk.
[...] See more »
There are five versions of the film, Mr. Arkadin. -There is the public domain version, the one most common in America. After the opening credits, it begins with Van Stratten's narration on the docks. It is told in linear time. -There is the European version, called Confidential Report. It has footage of papier maché bats in the credits, and has some footage not seen in the public domain version. It is told in flashbacks. -There is the version currently in possession of Corinth Films. According to Welles friend Peter Bogdanovich, this version and its first four scenes correspond directly to Orson Welles' intentions. It is told in flashbacks. -There is a Spanish language version that corresponds directly to the Corinth version. However, the roles played by Katina Paxinou and Suzanne Flon are now played by Spanish actresses (Irene López Heredia and Amparo Rivelles). -As of 2005, there is a version being prepared by the Munich Filmmuseum that not only contains footage found in different versions of the film, but also corresponds as closely as possible to the complete intentions of Orson Welles. See more »
Orson Welles hits and runs yet again with this over-everything mess. This fellow wasted his talent by trying to make movies for himself with little regard for the viewing public - who would eventually have to part with their hard earned cash - to sit in picture houses all over the world wondering what could continue to go so awfully wrong. Too often we see raves for this fellows indulgences from other movie makers like Scorsese, Spielberg, Tarantino, and Bogdanovich, they seem to belong to a 'self congratulatory movie club', specialising in a pat-each-other-on-the-back style of praise. If Wells had concentrated on his talents as a performer, director of photography or screenplay adaptor and collaborated with more controlled movie makers (ie; Carol Reed, George Stevens, William Wyler, etc) we may have experienced more masterpieces. Instead, we have a steady rollout of sorry 'could-have-been' or unfinished titles from an eccentric, compulsive egotist.
Looking at this movie is an eye-rolling experience many balanced movie lovers will tire of very early - in fact, my audience either slept of walked out. Camera angles for unimportant scenes were so overly staged it detracted from what the scenes simply set out to convey. Less would have been more for any movie maker in control of their project. All this might work for those bent on idolising a fallen one or two hit wonder. Wells seemed bent on destroying his obvious creative giftedness with unregulated egocentric opulence. Little wonder producers were forced to take control of his projects before they were all sent to the poorhouse. If not yet seen, watch it for a mostly excellent cast (except for the main lead!) being wasted within excess overindulgence.
For a great movie experience look again at Citizen Kane - then consider that a young Orson, first time movie maker, was blessed with some of the finest creative film talent in the world to teach and carry him over the bumps... Innovative master cinematographer: Gregg Toland ~ brilliant writer: Herman Mankiewicz, assisted by John Houseman ~ experienced first assistant director: Edward Donahue ~ Editor: Robert Wise ~ executive in charge of production: Pandro S. Berman. These people would continue to make successful movies throughout their careers. When Orson distanced himself from the likes of these talented folk and took over the reins himself, it all began to fall over. There are many other master movie makers to honour - who have been quietly cast aside for the sake of relative failures and, this appears to be mostly instigated by others enamoured with their own self importance. Take a closer look and judge for yourself.
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