Tim Burton’s 1994 film “Ed Wood” features a scene in which one of the greatest directors who ever lived meets one of the worst.
Frustrated with the progress of his latest project, “Plan 9 From Outer Space,” Edward D. Wood Jr. (Johnny Depp) storms into a Hollywood bar only to meet his hero, Orson Welles (Vincent D’Onofrio). After complaining about his own struggles with financial backers, Welles gives Wood the confidence to return to the set and finish shooting “Plan 9,” making Welles, ironically, responsible for a movie frequently cited as the worst ever made, usually by people who have not seen “Doomsday Machine” (1972).
Of course, like many events depicted in “Ed Wood,” the meeting between Wood and Welles never happened. Oh, yes, Edward D. Wood Jr. was a real director who made some really bad movies, but one must never let truth stand in the way of art. And the meeting between Wood and Welles works beautifully because Wood and Welles had so much in common, except that Welles was a genius and Wood was, to put it charitably, not.
Several years ago, I met Forrest J. Ackerman, the original editor of Famous Monsters of Filmland magazine. Ackerman was also once a literary agent, representing such renowned authors as Ray Bradbury. He also represented Wood. “I was his illiterary agent,” Ackerman quipped.
Wood struggled to get money to make his schlocky sci-fi and horror movies, and after “Plan 9,” he faded into a more obscure obscurity than he had occupied before, directing sleazy sex films and hitting his friends up for work until his death in 1978 at age 54.
Welles’ problem, however, wasn’t a lack of talent. He had loads of it. Director, screenwriter, producer, actor — Welles did it all. At age 23, he conquered radio. During an Oct. 30, 1938, broadcast of H.G. Wells’ “The War of the Worlds,” he fooled (inadvertently) more than a million listeners into believing the Earth was really being invaded by Martians.
He then moved to Hollywood and seemed primed to conquer it, too. But “Citizen Kane,” the film that would eventually establish Welles as a great filmmaker, was a disappointment at the box office. Afterward, Hollywood studios were reluctant to give Welles the total creative control he enjoyed with “Kane.” RKO, which had released “Citizen Kane,” re-edited and re-shot portions of Welles’ next film, “The Magnificent Ambersons,” and Universal took over Welles’ 1958 thriller “Touch of Evil,” which was finally re-released in a form close to Welles’ vision 10 years ago.
Welles turned to financing his films independently. He spent years trying to complete his adaptation of “Don Quixote” without success, just one of many projects he left unfinished, usually because of a lack of money. Only one of those films, “The Other Side of the Wind,” seems likely to ever be released. Director Peter Bogdanovich has been working on editing Welles’ footage into a finished product.
As an actor, Welles often took jobs just to finance his movies. Most famously, he became a TV pitchman. He would “sell no wine before its time.” His legendary voice lent authority to everything from frozen peas to a dubious documentary about Nostradamus. He even had a part — his last, as it turned out — in the animated feature “Transformers: The Movie.” As he put it, “I play a big toy who attacks a bunch of smaller toys.”
But still, Welles carried on, directing films that include an inspired adaptation of Franz Kafka’s “The Trial” and his not-quite-a-documentary “F for Fake,” which was his last completed movie.
Long overlooked, “F for Fake” is one of Welles’ finest films. It’s a meditation on art and fakery, taking as its subjects art forger Elmyr de Hory and Clifford Irving, who wrote a hoax biography of Howard Hughes and a real biography of de Hory. But more than that, “F for Fake” is a magic trick. Welles was an amateur magician and knew all the tricks, especially the fine art of misdirection.
You never let truth stand in the way of art.
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