Ich & Orson Welles

Orson Welles was, if nothing else, 'something. Even his detractors, like Ingmar Bergman, said that he had an 'immense personality', and this is what is a great appeal for an actor who can embody the full emotions of the man, and look like him second. Richard Linklater, the director, has an ace up his sleeve with the casting of Christian McKay- an actor who is a relative newcomer in film- that is just about right. It's actually a case where the actor, perhaps due to the personality/character of the man he's portraying, upstages others around him.

This is good (as is McKay, being in his 30's, making 22-at-the-time Orson appear or act older/wiser), since Welles is a man who could take over a room, and in fact was looked upon to do so with his Mercury theater players, who couldn't even do much rehearing or anything until he showed up. McKay goes into every little gesture or facial expression with gusto and, equally, some sublty when called for like when talking about his pet project of the Magnificent Ambersons.

It's almost so good a performance as Welles that you should see the movie just for him: fans of the director/actor/legend will want to see him brought to life and made in respectful homage, and non-fans will be marveled by a thespian bringing another thespian to life. There is a downside, however, in Linklater's casting (not so much with the supporting roles as they vary between being very good like the guy playing Joseph Cotten aka 'Joe the lady's man' to decent like Ben Chaplain as Coulouris) with Zak Efron. It's admirable that he's trying to get past his days of High School Musical and build up an actual career, but he doesn't breathe enough life into his coming-of-age character Richard to make him more than just passable. He's a cute kid, yet he's not really able to meet up to the dimensions of the character (which, to be fair, are kind of thin).

Linklater's film is inherently interesting dramatization just on the main subject matter: Welles and the Mercury theater putting on the daring production of Julius Caesar that would propel him and his troupe into the first real spotlight. However the film is most interesting and gets its main dramatic fire when it focuses on the rehearsals and some of the backstage antics (i.e. an accidental setting-off of the sprinklers by Richard fooling with matches), not so much the quasi-love story between Clare Danes' character with Efron. It's not got anything we haven't seen before, even in the sort of whimsical fable that Linklater lays out. The conclusion of their relationship is wise- as is how Welles 'deals' with Richard late in the film- but ultimately one kind of sighs and sits through a lot of so-so acting/pouting by Efron in order to get to the juicier scenes with Welles. But, as I mentioned before, it's worth a full-price pretty much on the basis of Welles and McKay. As Welles himself could be: exceptional and/or decent at once. 7.5/10

If you run down the list of achievements and dubious exercises in the 70 years that Orson Welles occupied this life, you will see a life that bolsters more interesting twists and turns then any ten people that you can probably name. He did everything: he was a film director, a theater director, a radio director, an actor, a writer and a magician. He founded The Mercury Theater and ran it like a dictator. He was a master of radio who produced a Halloween broadcast of "War of the Worlds" that nearly caused riots in the small community of Grover's Mills, New Jersey.

At the age of 25, he was given unprecedented creative control by RKO to make his first film, Citizen Kane, a film that so angered newspaper magnate William Randolph Hearst that he tried to stonewall its release. None-the-less, the film would be lauded as the greatest American film ever made. Even with that, his career as a film director was cut short. He butted heads with Hollywood studio moguls who curtailed his creativity and practically ran him out of the business. In his short film career he would create a roster of brilliant film work including not only Kane but The Magnificent Ambersons, The Third Man and Touch of Evil.

Late in his life, he would become a walking joke. There were the fat jokes, the Paul Masson commercials, the Nostradamus documentary and that infamous hot dog eating contest. Yet, even with those embarrassments, you can say that Welles, while having suffered a stunted film career, never-the-less lived a life that was anything but boring.

Richard Linklater's Me and Orson Welles, captures Welles at the beginning of his career, but not the beginning of his brilliance. What is captured here, in a magnificent performance by stage actor Christian McKay, is a man of overinflated self-confidence, of charm, and of merciless dictatorial style. He was, as we can see in this film, a monument to himself but not someone who was off-putting. You want to sit in the front row just to listen to him talk.

The film takes place in 1938 at The famous Mercury Theater, where 23 year-old Welles and his overworked staff are preparing a production of Julius Caeser set in the reign of Mousselini. That means that Caeser will be performed but the actors will dress in the black Nazi regalia and jack boots. Some of the actors we know: Joseph Cotton (James Tupper), Norman Lloyd (Leo Bill), John Houseman (Eddie Marsan), George Coulourous (Ben Chapman) - who later played Mr. Thatcher in Citizen Kane. Yet, our focus into Welles' theater comes from Richard Samuals (Zach Effron), a struggling actor who makes his way into Welles' circle and eventually into a bit part in Caeser.

The kid comes under Welles tutelage and his near-insane style of directing. One of the things that Linklater gets perfect in this film is the back-breaking work that goes on behind the scenes at in a theater company. There are the preparations, the rehearsals, the manic casting and script changes, the personal petty feuds, the problems with budget and of course the problems of working under and egomaniac like Welles. McKay occupies the role in such a way that his presence is felt even when he is off-screen. It isn't just the voice and the face and the mannerisms that McKay gets right, but the very essence of Orson Welles. This is a magnificent performance, so much so that when I saw the film at Ebertfest, his name in the credits drew thunderous applause.

What happens in the film is the old backstage story of the kid who tries to make it into the inner circle of the theater company. Yet, it is surprisingly devoid of clichés. What Linklater wants to capture is the feel of the backstage process, of the tensions and in-fighting that go on. Mixed with that comes the story of Welles and his tense relationship with everyone. His ego is a Maypole that everyone is forced to dance around. When we get to the ending, and see the performance of Julius Caeser, we see the result of the company's efforts, it is a sight to behold, not just a good performance of a famous play, but the efforts of tireless people working under an insufferable, but undeniably great artist.

Considering the fanatic cult following that Richard Linklater has developed with films like Waking Life, Before Sunrise/Sunset, and A Scanner Darkly, let me preface this review by saying that I'm not a Linklater devotee. If Linklater is endowed with a species of genius, I must confess complete ignorance to it. Indeed, my favorite Linklater film was School of Rock, and he has always impressed me more by the breadth of his work and his willingness to challenge the conventions of film than by any individual film. It's perhaps this maverick spirit that drew him to do a film about Orson Welles.

Me and Orson Welles, based on a novel by Robert Kaplow, tells the story of a teenager, Richard Samuels (Zac Efron), who is swept from learning about Shakespeare in the classroom to the fast paced world of the Mercury Theater on Broadway when he lands a role in Orson Welles famous 1937 production of Caesar. As Orson Welles struggles to get the production ready for the premier, Richard falls for the theater's resident hottie, a charming and ambitious aspiring actress played by Claire Daines, and finds himself growing up quickly to the realities of show business and the real world.

The movie is entirely carried by it's acting, and the actor generating the most buzz is the British born Christian McKay who plays Welles. I'm very uneasy about praising portrayals of real life figures, because it seems any time an actor plays any historical figure (from Gandhi to Capote and Idi Amin) they receive excessive attention. I think it has less to do with the "acting" involved than it has to do with the fact that most audiences feel much more comfortable passing judgment (and bestowing praise) on mimicry than actual acting. That said, McKay does a masterful job in capturing that mythical image of a young Orson Welles that all of us film geeks have in our head, from the striking resemblance in appearance to the pitch perfect intonations in his voice. Welles is charming and maddening, endearing and brutal, and always larger than life... and McKay captures it all perfectly. It's clearly a role that McKay has been mastering for a long time, as he was doing a one-man-show about Welles on Broadway before being snatched for the role in Me and Orson Welles. From the Q&A session (at the Toronto international film festival), McKay seemed intelligent and passionate about his work, and I truly hope he doesn't get pigeon-holed into spoofing Welles for his entire career.

Unfortunately the other acting foot that the movie stands on, isn't nearly as good. Zac Efron is just so pretty (and I say this as a heterosexual male) that it becomes distracting. Watching Efron act, it feels like he's trying to make women orgasm in every scene he's in, which works well in enough in the many scenes he's trying to court Claire Daines's character, but doesn't work in any other scene. Efron's acting makes it hard for the audience to emotionally connect and prevents the movie from achieving the emotional punch it might otherwise. The audience is never drawn in and they remain spectators, which, fortunately, isn't such a bad thing since the movie is so fun and nostalgically charming. Perhaps even the flighty and ethereal feeling the film gets because of it's lack of punch can be forgiven, since it's a movie about youth and growing up and so much of that involves tempestuous passions that end up being quite meaningless in retrospect.

8/10

Me and Orson Welles (2008), directed by Richard Linklater, is a fantasy about a fantastic event--the famed Mercury Theatre production of "Julius Caesar," directed by Orson Welles in 1937.

In the 21st Century, setting Shakespeare's plays in modern dress has become a cliché. More than 70 years ago, however, Welles' production, with its clear references to fascism, was bold and daring. It made theater history, and propelled Welles into the limelight.

Teen heartthrob Zac Efron plays Richard Samuels, who is chosen by Welles for the small role of Lucius in the production. Zoe Kazan plays Gretta Adler, a young woman whom Richard meets in the New York Public Library. Claire Danes is Sonja Jones, Welles' assistant, who is rising in the theater world through a combination of intelligence, beauty, devotion to Welles, and her willingness to get into bed with anyone who can help her career.

Effron is outgoing and attractive, Kazan is shy and attractive, and Danes again shows why she was able to captivate TV audiences in "My So-Called Life," and then move on to immense Hollywood success. (Those who know "My So-Called Life" can recognize some of the interesting techniques that Danes developed then, and has since perfected.)

The highest honors in the film, however, belong to Christian McKay, who portrays Welles, and who stars as Brutus in the production. He has an uncanny resemblance to Welles, and his acting in the movie captures the qualities for which Welles was famous--incredible talent and incredible egotism.

Me and Orson Welles is not a truly great or classic film, but it's not fluff, and it's a perfect choice if you want to see an interesting movie about interesting people. The production values are very high, the sets capture New York City in the 1930's, and the acting is wonderful.

We saw this movie on a hotel flat-screen TV . It would probably work better on a large screen, but the small screen version worked well enough. It's definitely a movie worth finding and seeing.

The career of Richard Linklater has proved one of the most delightfully eclectic in the film industry, veering between works as diverse as teenage subculture films (Dazed and Confused) to philosophical romances (Before Sunrise) to drug-addled paranoid thrillers (A Scanner Darkly) to mainstream comedies (School of Rock). But even with such a varied body of work, it is difficult to deny Linklater's latest still seeming somewhat of an anomaly: a lighthearted period piece examining the timeless figure of Orson Welles, making his name through a 1930s theater production of Julius Ceasar still seems an odd about face even for such a versatile director. And yet it is somewhat fitting that such a whimsically talented modern director should examine one of cinema's most legendary mavericks as Linklater's latest, Me and Orson Welles is a charming addition to his body of work, a breezy, self- reflexive yet nostalgic celebration of the mediums of performance as experienced alongside one of the most dynamic and influential figures ever to impact them.

The agile script ably captures the conflicting clashes of the behemoth of a personality that was Orson Welles, from the explosive temper tantrums to the slyly manipulative charm to the casual womanizing, painting a vivid (but likely not larger than life) portrait of the man without either romanticizing or demonising him. It is ultimately the presence of the titular character which rescues the film from becoming yet another "cast rehearsing a play" film, as the dynamo of Welles tearing through the film at all the least expected moments creates a sporadic force of havok keeping the film continually off kilter, preventing it from descending into cliché and keeping it consistently interesting as consequence. While the story's lightness of touch does make some of the plot points either overly obvious or unbelievable, a film so unassumingly enjoyable fails to evoke much complaint - whether dabbling in the dramatic or the comedic, Me and Orson Welles remains refreshingly cheerful and earnest, and all the better for it. Completing the package, Linklater's rare tackling of a period piece demonstrates his typically astute ability to capture the feel and flavour of the times, with the earnest ambition of the 1930s well complimented by subtly stylish sets and costumes while simultaneously avoiding beating the audience over the head with more overt details of the time (instead of the potential hackneyed Nazi allusions, Linklater includes merely a brief radio snippet which is quickly cut off, a classy and subtle inclusion).

Undergoing a difficult transition from teenage heartthrob to dramatic lead, Zac Efron gives a surprisingly solid performance as the idealistic young actor swept into the wild world of Welles, convincingly contributing charm, comedy and genuine sympathy to the emotional centerpoint of the film. However, given the title, it isn't difficult to imagine the inevitable highlight of the show, and true enough, as the infamous Welles, British stage actor Christian McKay doesn't so much steal scenes as seize and throttle them, exploding on screen with the same engrossing bluster that only the real Welles himself could conjure up. Blending the conflicting elements of an indisputably difficult character as easily as he nails the trademark voice and appearance, McKay's Welles alternates between devilish charmer and explosive force to be feared, shaking up the film with similar vigour and nuanced genius - one of the most impressive cinematic debuts in recent memory. Claire Danes is also on top form as a good hearted but endlessly ambitious member of Welles' company, and Ben Chaplin and James Tupper are endearing presences as eccentric members of Welles' calamitous company.

As unconventional a project as it may be, Me and Orson Welles remains one of the most unashamedly lighthearted and enjoyable forays into nostalgia in many a year, breezily blending the serious with the silly while never skimping on historical fact. The addition of McKay's brilliantly combustive Welles make the theatrical rehearsal sequences a joy to behold instead of drearily formulaic, making Linklater's latest film a charm to behold for even the most cynical of audiences.

-8/10