The Other Side of the Wind

Some films are hard to judge, especially something like this, that may be very close to what Welles intended, but never finished and never really seemed to be really satisfied with (see also the documentary about Welles from 2018, which is really good). Now there are things in here that may seem redundant to some or annoying. Or even pretentious to some extend. If that rings true to you or not, it doesn't mean you are right or wrong, one way or the other. It just means you have feeling and maybe knowledge and that's why you lean to a particular way or side.

Having written all that, I am surprised by the amount of nudity that made it into the film. I'm also surprised about the film depicting scenes being shot "in real time" with off commentaries by the director, with different cameras, cuts and all that. Now obviously we are taking creative liberties here and it's supposed to be heightened. It's to prove a point or even points. So in a way there is more to the film than meets the eye. You have to approach this movie with a certain mindset.

If you do that, you may be able to see more than some others. But if you don't you'll probably be bored. Whatever your stance on this is and it will be dividing, you cannot call this an easy movie to watch. Some probably will watch it multiple times and cherish it's commentary and behind the scenes insights as much as its psychology. Others will just sneer at the mention of the title. In a way I'd say that would make Welles happy after all ...

Other reviews have shed light on the challenges and controversy surrounding the creation of this film, so I will not cover that. The initial scenes are haphazard, but after a short while, the plot adopts a firmer grasp. Some scenes were shot in b/w, and other in color, and the mix of the various film stocks does work, for the most part. Shrewd, biting humor infuse the entire film, which skewers the Hollywood studio system and offers glimpses of hangers-on, while highlighting the sordid nature of fame.

Wonderful cast, with standout performances from Huston and Foster. Some of the the dialogue appeared improvised, and the energy was highly-charged. The upbeat jazz score by Michel Legrand was terrific. Overall, I enjoyed this wild ride. Even so, I wonder what would have happened if Welles would have had the funds to personally helm this film into full fruition? Did he genuinely intend for this film to be finished by someone else? What would have happened if it had been retained as a lengthy, experimental journey?

Here it is, if anybody wants to see it.

Were you compelled by the character study of Citizen Kane? Were you thrilled by Touch of Evil? Then get ready for something unlike any of those or unlike anything. This is the mockumentary before Reiner or Guest, the improvisational dramedy before Apatow.

The entire point of this movie is that there's no point to this movie. Here is Orson Welles's most talked about movie about talking about a movie. His film about a film within a film. Orson Welles deliberately subverts Orson Welles to make an art film contained within an art film making fun of art films. John Huston plays John Huston playing Orson Welles as Orson Welles. Peter Bogdanovich plays himself as his own ripoff. There's a party celebrating a celebrated filmmaker making a film making fun of filmmakers. Nothing happens. So much happens. We learn everything about a legendary director about whom we learn nothing.

This film is a glimpse into the psyche of a filmmaker who wants to make films but has no idea how to keep making films. He wants to be commercially successful without compromising his integrity. He wants to make personal films for an impersonal audience. He wants to make something sexy despite being prudish. This movie isn't really for anyone; this movie is really for everyone.

It wasn't until the end of his life that Orson Welles realized the most important story he needed to tell was his own. It's a story whose only concern is that it was told, whether or not you like it. So watch it. Or don't. This movie doesn't care either way.

And if this review left you feeling confused, then I gave you an accurate impression of the film.

I had the privilege of seeing this at the New York Film Festival. A sense of awe descended upon the audience as soon as the opening credits began. The fact that this film was finally completed and released is a triumph in and of itself.

Orson Welles' final film is chaotic and unwieldy, but also very haunting and melancholy. The soundtrack is amazing. There is frankly a sliver of a plot. An aging director attempts to make a comeback as Hollywood has drifted away from his era as he throws a big birthday party in which journalists, critics, admirers and some industry professionals join to celebrate. It soon becomes apparent that reporters are there to ascertain information about more than his work. His new film that is in the works is shown. We get to see an unfinished film within a film that is titled "The Other Side of the Wind", one that is sexually explicit.

The late John Huston portrays Jake Hannaford, the director whose approach to filmmaking has earned him a great following and his relationships with the actors he works with makes him a lightning rod of controversy. Huston's sepulchral voice and domineering presence make him flawless in the role as Hannaford. Peter Bogdanovich is well utilized as a younger, successful director whom Hannaford has taken under his wing but whom now Hannaford consults on how to better reach audiences of the new era.

This film is not flawless. The experience of seeing this at long last outweighs its drawbacks. There are some parts of this film that drag a bit. But there are also many, many scenes that are just astounding and I'm so happy they were finally brought to the big screen. Although this film is inconsistent in its narrative thrust, it returns very quickly to its busy, slightly manic state. I don't know if Welles deliberately left this unfinished. What I can say is that the editing is superb and provides us with a film that is a lasting testament to Welles and his legacy as a filmmaker. Highly recommended.

It took 40 years to make. Orson Welles never lived to see it completed. It's sad, but in retrospect, I see why. The Other Side of the Wind is brilliant in it's own little way, but it's far too esoteric. This film was for an audience, but we certainly aren't it. This is Orson Welles, and his film cohorts, fed up with the Hollywood system, and throwing up their middle fingers at them. At the same time, Welles was searching to make a masterpiece far ahead of it's time. What we get is the story of the premiere of a legendary filmmaker's last film. The film-within-the-film, also titled The Other Side of the Wind, is a colorful and erotic psychedelic fever dream about a Native American woman. I enjoyed this portion much more. You can see the imagination and enthusiasm for making something new and far-out from these scenes. The scenes that wrap around the film-within-a-film are in the style of a documentary, as we see industry folks and journalists quipping and arguing with each other. John Huston stars as Jake Hannaford, the jaded has been hot shot director who is obviously supposed to represent Welles himself. Huston is the brightest part of these scenes. On the whole, they are less imaginative, and feel so insular. It's unbalanced, and that's what really took me out of it. Historically, this is really fascinating stuff. To better understand it, I must consult the making-of companion doc on Netflix.