- Taschenbuch: 480 Seiten
- Verlag: Vintage; Auflage: Vintage Books. (30. September 1997)
- Sprache: Englisch
- ISBN-10: 0679772839
- ISBN-13: 978-0679772835
- Größe und/oder Gewicht: 13,2 x 2,4 x 20,3 cm
- Durchschnittliche Kundenbewertung: 4.8 von 5 Sternen Alle Rezensionen anzeigen (5 Kundenrezensionen)
- Amazon Bestseller-Rang: Nr. 1.922.728 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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During Orson Welles' tumultuous honeymoon in Hollywood 1939-1942, Thomson writes, he achieved "glory, but ruined himself; the one was not possible without the other." In this sweeping tribute to the man said to have "more genius than talent," Thomson chronicles the events that transformed Welles from Hollywood's bad boy into one of the most influential and enduring filmmakers. The accounts of Welles' intellect only serve to contrast with the self-destructiveness of his post-Kane years, and Thomson's analysis shows that Citizen Kane loomed over the actor-film maker, not just as an achievement he could never equal, "but as an underground presaging of his own destiny."
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From Booklist
Welles dreamed his life as he lived it and passed down his fanciful interpretations of that life to all who would listen, for example to Barbara Leaming, his personal biographer. Some of Welles' most famous stories, about his production of Macbeth with a black cast in Harlem, the writing of Citizen Kane, all that film footage of carnival in Brazil, Dolores Del Rio and Lena Horne, his betrayal by studio executives on The Magnificent Ambersons project, have been retold many times in search of what happened to the boy genius who steadily fell from grace after the making of Kane when he was 25. Simon Callow (Orson Welles ) sidestepped Welles' stories to concentrate on the evidence of his achievements; Thomson trots out the myths and reinterprets them in Welles' favor, which he fits into his ingenious conceit of Welles as the antihero Kane. He effectively replaces William Randolph Hearst with George Orson Welles as the model for Kane. Thomson's reiterations, tastefully placed, that Welles died alone on October 10, 1985, "without nurse, companion, camera or recorder," suggest his commitment to his argument. Throughout, Thomson is engaging and humorous, particularly in working with another masterful conceit. On a controversial interpretation or on an exquisite insight, the publisher enters the narrative and converses with the author. Prettily done. Thomson summarizes that Welles was, at once, "magnificent and a poor bastard." And this is, at once, a brilliant and maddening inquiry. Bonnie Smothers
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In diesem Buch
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Einleitungssatz
HE WAS ALONE the night of October 9-10, 1985, which is not the same as lonely. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
HE WAS ALONE the night of October 9-10, 1985, which is not the same as lonely. Lesen Sie die erste Seite
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Format:Taschenbuch
When I told a co-worker that I was reading a book on Welles, she said, "Wow, that must be interesting...he was such a mysterious man." And this book definitely is interesting. Instead of reverting to the dry, analytical narrative that most biographies use, the author uses an effervescent, almost poetical descriptive voice, as well as employing an imaginary dialogue with an inquiring editor. The dialogue technique is used sometimes to escape the pitfalls of libel suits (as someone to "suggest" that so-and-so may have homosexual, etc.) as well as to explore multidimensional interpretations of film.
This technique could be distracting, but it isn't. Instead it's compelling, and it gives voice to the reader in an interesting way.
Now, on to the content...this book was a fine portrait of Orson, detailing his early success, blazing masterpiece, debilitating failure, and strange downward slide. It examines Welles with both adoration and horror -- how could someone with so much talent burn so brightly and then burn out?
Scenic analysis of some films are an added bonus, and prove almost as illuminating as biographical details. These film crit moments aren't too heavy for the amateur, but they also won't bore a seasoned scholar. (ALthough if you haven;t seen "Citizen Kane" before you pick this up, you really should go rent it first...and even if you know it well, as I do, you might want to still rent it because the book does explore it with regards to Welles psyche, and it is very helpful to have scenes fresh in your mind.)
This talks about Welles's personal life, but refrains from idle gossip. It emphasizes the *human* struggle in Welles and illuminates the myth without diminishing the pleasant mystery.
Highly recommended for theater & film buffs as well as people with a good taste for a tragic story.
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Format:Taschenbuch
In his introduction to the Biographical Dictionary of Cinema, the (Cliche!) greatest book ever written on the cinema (because it values humanism and impressionism over sterile science and yet still produces comparable insights. Compare his entry on Sirk and all those deadly 70s Screen articles on the melodrama), David Thomson hoped that readers would wrestle with the book, and make their own impressions sharper. This is certainly the case with his (cliche!) astonishing, yet maddening Orson Welles biography, Rosebud. The book is astonishing in its insight, human sympathy, narration; in it's commingling of hoary legend and hard-won facts to create a vivid, yet satisfyingly elusive portrait of America's greatest (along with Hawks!) filmmaker. THe device of the dialogue with the imaginary publisher is wonderfully unstuffy, and helps qualify some of the sternness in the 'main' sections. It's formal mirroring of and continual alluding to Citizen Kane cements the power of his biographical interpretation of that masterpiece. Having read the book, it is evident why Kane is the greatest, why it's such a rich and everlasting work. His analysis of the opening scenes are the best ever written, and almost make you long for a complete study. Most astonishing however, no less so for being predictable, is the Thomson style, the complete opposite of the Welles' aesthetic, graceful, playful, Nabakovian, allusive, yet similarly moving and melancholic. What irritates about the book is the tendency to moralise and judge Welles, as if we were all perfect. It's one thing to criticise the work (and although some of his verdicts seem capricious, it's refreshing to see Macbeth, THe Trial adn F For Fake get their due), the repeated harping on Welles' failure as a human being grate (although I may be too adoring of the monster for my own good). This callousness softens towards the end, and when THomson confesses that his own personality is too close to Welles, and that he has been a shaping influence on his life, all becomes clear and (a la Thomson!) forgiveable.
Format:Taschenbuch
Simply the definitive account of the greatest american talent in cinemas history. From the glory of Kane to the despair of daytime commercials, Thomson treats the subject with equal measures of admiration, pity and despair. A great story well told. As Kane said "if I hadnt been rich, I COULD HAVE BEEN A TRULY GREAT MAN "
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Masterfully written, and truly indispensible for Welles fans
David Thomson and Simon Callow both released biographies of Orson Welles at about the same time, and it seems the two will be perpetually linked in reviews. Lesen Sie weiter...
Am 10. Dezember 1997 veröffentlicht
Lyrical and Gigantic
That sums up both Orson and this book. A very balanced view on Orson's rise and fall. You can tell Thomson has a special affinity for his subject. Lesen Sie weiter...
Am 5. Dezember 1996 veröffentlicht
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