The Eyes of Orson Welles

Mark Cousins explores the life and works of Orson Welles, through the prism of his artwork.

This documentary is structured in the form of an open letter to Welles, as if he were still alive; the conversation isn't entirely one-sided, as towards the end of the documentary there are imagined replies from Welles too.

Burrowing through the remaining archive of Welles' artwork, often in the company of his daughter Beatrice, shows some insights into the workings of the mind of one of the twentieth century's most influential and controversial film-makers. Although nothing can be examined in great detail in the running time (1Hr 40mins as I saw it), his working life, his marriages, and his political activism are touched upon.

This film is both nicely made and is visually arresting in its own right; the content together with Cousins' quiet intensity makes this a must-see documentary for film enthusiasts. For me it underlined the fact that there are lots of his movies which I have yet to see, and there are aspects of Welles that I knew nothing about.

Eight out of ten from me; a longer version would probably have been an easy nine.

It's listed as a documentary, on the life and works of orson welles, who lived from 1915 to 1985. Writer, director, producer, stage manager, casting director. Mark cousins and welles' daughter beatrice describe various items from the welles collection archive. Drawings, letters, papers. Lots of scenery of new york and chicago. Discussion of themes like beginnings and endings. Some politics. Cousins addresses many statements and questions to orson himself, as if he were in the same room. And sums of welles' work as a series of shapes and lines. Contradictions, as any poet has. There's a very complete page of information at wikipedia dot org as well. It's mostly good. Written, directed, narrated by mark cousins. He has won numerous film fest awards. It's quite interesting. I wish cousins had spent more time with beatrice on camera! She must have had tons of interesting stories about her father's life and work. And i don't remember any discussion of welle's project (uncompleted, during his lifetime) other side of the wind... which was also released in 2018!

I appreciate the effort put into this documentary. I learned a lot about Welles which I had not known. Actually, I wasn't aware that he made or performed in so many films. I believe only a select few are shown on TV these days. I certainly will be on the look-out for more of his films as mentioned in this documentary. Contemporary youth seem to prefer everything In color and flashy so they show no interest in old films especially if they are in black and white. Having said that, I did not give a high rating because I found the director spoke more or less in a monotonous voice most of the time. Of course, he has an Irish accent, but that in itself is not an issue.

A doc on Welles that focuses on his drawings? Sounds about as interesting as one on Warhol that centers on his films. And as a number of previous reviewers have observed the director/narrator's droning, second person Irish tones get old five minutes in.

In his imaginative take on the life of Orson Welles, Mark Cousins looks at Welles's personal sketchbooks - he was an inveterate scribbler, though he rarely went as far as to produce what we might call finished artworks - and sees the connections to his films, and to his life. This is not just a novel but also an interesting approach: film is a visual medium, but the visual side of a movie is the hardest thing to talk about: the sketches provide a key to the way that Welles conceived his tableaux. The other part of the thesis is that Welles's choice of movies tell us something about his private character. This is more contentious: does someone choose to play Falstaff, say, or film Don Quixote, because the character fits their own self-image? Maybe not, but Cousins gives us a credible speculation of how Welles' own character manifested itself in the work he produced, of how his films reveal the man who made them. Instead of a conventional narrative, Cousins prefers to engage in one half of an imaginary dialogue with the auteur: at times this is less successful, as when Cousins seems to impute a connection of Welles with Ireland that seems more important to him than he manages to convince us it was to Welles. Overall, though, it's a worthwhile endeavor: Welles's story is well known, its arc usually presented as tragic; but Cousins succeeds in making us view it through fresh eyes.