Too Much Johnson

It's always a miracle when a lost film is discovered, or an unreleased one or whichever, and for those looking for the scraps of what Orson Welles left behind and have never been able to see, the most prized missing stuff is... The Magnificent Ambersons, of course! But among the films thought lost to the ashes of time, one of them was Too Much Johnson, an experimental work that Welles made in conjunction with a play by William Gillette. I haven't read the play, but I've read about it, and it basically concerns a man who goes to Cuba, but also has a dalliance of some kind with a woman. And then there's a chase, and wackiness ensues about infidelities and husbands and wives and so on.

Actually, I may be confusing the play with what Welles filmed, which were, according to history, supposed to be bridging-segments during scene changes on stage. Also, Welles wanted to possibly try to convince Hollywood he could direct film - prior to this he'd done one really amateur short, The Hearts of Age, and this was either before or around the time that War of the Worlds happened, which got him his carte-blanch deal anyway - and what better way than to go another step further past his theatrical experiments (Macbeth with voodoo, Julius Caesar in modern dress) and make a true-blue independent film?

The problem in seeing Too Much Johnson today are two-fold at least: 1) Welles never left behind a fully finished cut, even in the form of what the segments would've really looked like edited together for the stage hybrid, and 2) what the Turner Classic Movie channel decided to do (in conjunction I suppose with an Italian restoration from the discovered footage from 2013) is just throw on TV at the end of a Welles 100th birthday celebration... everything. One might get the wrong idea tuning in in the middle of the night (which is when it officially aired) trying to get a potential glimpse at the Boy Wonder a few years before Kane to see what kind of work he was capable of - AND think, without the proper research, that it's a completed feature. It isn't.

What was shown on TCM is a work-print, basically anything that Welles and company shot; multiple takes included, many moments of Joseph Cotten just looking around or something taken a second time like characters on a horse carriage, and the coverage of angles. And, on top of this, the footage is scored with new music by some dude that is rather inappropriate, even for an unfinished product. If one is trying to watch it outside of the confines of stuffy film history, as, you know, an entertainment experience, it's all music that should be meant for some modern thriller (at best), NOT a Keystone Kops style comedy featuring the kind of set pieces that would later be emulated by Scooby Doo and Benny Hill.

Now, this isn't to say it isn't without some interest to watch this or seek it out if you may have also DVR'd it or, by chance, it finds its way online or whatever: Welles clearly shows, years before he met Greg Toland and the legend of the "You can learn everything about filmmaking in a few hours", that he already knew where to put the camera and direct actors. This isn't to say it all works; even the segments where things do cut together cohesively, it all moves super fast and oddly, and most of what's shown is just an extended chase (again, bridging the gaps of the play and experimenting).

But if you are looking at this and want to see some fun material, certainly Cotten in the lead, and women players Arlene Francis, Mary Wickes and Edgar Barrier (complete with giant mustache), plus Welles' wife at the time Virginia Nicholson, deliver on physical comedy, BIG expressions and gestures, and Welles accomplishes a lot of very daring physical feats and action. That he got away with so much - I don't know if they had those things called 'film permits' back in 1938 - is nothing short of remarkable. And considering how jumbled things are put together like this, I was surprised how much I COULD tell was going on.

But, again, all of the context about what this was counts. Watching this is for historical, cinephile-like, Welles-junkie reasons most of all. Compared to what's presented here, It's All True is a whole product. You're basically getting a series of glimpses into what was already apparent about this filmmaker, of his sense of play and imagination and just trying things out (a sequence involving knocking off hats, and how each man comes together to form a gang, is hilarious even in this rough form). If you go into it thinking it's a full feature you'll not merely be mistaken, you'll probably want to turn it off before it ends out of the monotony of multiple shots and jarring takes (plus raw footage that wasn't quite cleaned up).

So, needless to say, at 66 minutes long (!) this may be, ahem, too much Johnson, and whoever chose the music should be ashamed of themselves. But in this world where his unfinished works have attained a legend of their own, it's another piece of the puzzle. Last thing, though you may see a '7 out of 10', I really give no rating to this, as it wouldn't be fair - akin to grading a student film.

This is a rough assembly of the footage--a cut down version could pretty easily be made and why no one bothered to do so or TCM didn't show a version like that if it exists is a shame. There is much more movie here than I expecting---having heard about this film for years, I thought it would be a few short sequences of only a few shots each, not such an elaborate chase sequence.

Most of the material is in very good shape--not scratched or marked up, there is one section that is badly damaged but most of it is clean and clear. Joseph Cotton does most of his own stunts and some of these rival those of Keaton, Chaplin, Lyold and this is no small feat.

But what you are watching is not a finished film so the fact that much of it is quite funny and impressive and done on a pretty large scale of probably "stolen' locations makes it captivating---if you turn off the god awful music--which you can easily do. What were they thinking putting this music on the film it's terrible vaguely European sounding Philip Glass rip off stuff. Really unbearable.

Also rather poor, but perhaps intentionally so, is the opening sequence shot on a set that is clearly being lit by the sun--as an early early silent film would be, and this may be done on purpose. This scene sets up the rest of the film and does feature funny performances and a bit with a blowing plant.

Despite this being a silent comedy it also features some very fast cutting at times and shows--as you can see in his later films--some lack of a sense of screen direction. Characters who are supposed to be talking to each other are looking the wrong direction--this may well be a factor of parts being shot separately and with different people behind the camera. There is real filmmaking here in what was supposed to just be filler for a stage production--I've seen stage shows do this type of thing with filmed sections and rarely are they this elaborate even today.

So let's get someone to cut this down, by about a third, put in a few titles to explain roughly what is missing in between sections and put on some good music and it would fill an interesting gap in Welles filmography as he never did a silent film elsewhere or an outright comedy.

Joseph Cotton fans should also take note of this film too, it's not just for Welles completest.

Too Much Johnson (1938)

Orson Welles shot this film three years before CITIZEN KANE and it was never publicly shown. Welles had a print of the film but when he died he believed the only copy had burned in a fire but much later another print did turn up. Currently this film is available in a 66-minute workprint version as well as an edited 34-minute version, which apparently contains intertitles. It's worth pointing out that Welles himself never edited his "version" of the film.

Since I just viewed the workprint there's really no point in "reviewing" the film because what I viewed was pretty much every bit of footage that remains of the movie. When this was shown on Turner Classic Movies they decided to show this version because, I'm guessing, it contained the most footage and I'm sure most Welles fans wanted to see everything that was shot. The story itself is pretty simple as a man (Edgar Barrier) learns that the woman he loves is seeing another man (Joseph Cotten). Throughout the film Barrier chases Cotten around trying to catch him.

This was shot silent and was obviously a homage to the likes of Keystone and especially Harold Lloyd. Fans of the silent cinema will certainly want to watch this but those expecting to see something here that would predict the talent of Welles would eventually make something like CITIZEN KANE are going to be disappointed. Again, it's impossible to really judge a workprint but there are a few interesting things scattered throughout but I personally didn't see anything that would show early greatness from the director.

I thought the performances were quite good and especially Cotten who really does look like a silent film star. He manages to run around, climb buildings and fall over is a very believable and at times funny manor that really reminds you of some of the silent greats. The Lloyd influence is obvious. The film contains some good cinematography but without any intertitles it's really hard to follow the story. Perhaps the shorter, edited version takes care of this. As is, TOO MUCH JOHNSON is a film that Welles fans will want to watch but if you're unfamiliar with the genius then it would be best to start somewhere else first.

Long thought lost, "Too Much Johnson" has been found and restored. Never intended as a standalone film, it is rather a collection of three filmed segments meant to introduce acts of a stage play, a farce from the late 19th century. It was never used that way, and Welles did not finish editing it for that purpose. What survives is a very rough cut, including multiple takes of the same shot, no titles (which probably would have been used), and material that seems very likely to be out of order.

The first segment is the longest and the best. It's primarily a farcical chase out of the silent comedy era, featuring an enraged husband chasing his wife's lover (Joseph Cotten) through New York, particularly over rooftops and up and down streets in the market district. This material was essentially stolen footage, filmed without permits on location as time allowed. Some of it is fairly funny, but in the version that survives, it doesn't hold together well. One must admire the grit of Cotten and the other actors, who are doing their own work here up on some rather dodgy rooftops.

The second segment is not very interesting. All important characters have taken a ship to Cuba and the husband is still chasing the lawyer. In this segment, we get shots of Cotten traveling to the plantation of a friend who proves to be dead, shots of the dead friend's servant at the graveside, and shots of the new plantation owner walking around.

The third segment is a slight improvement. It primarily consists of an extended duel between the husband and the plantation owner, who has been mistaken for the lover. The lover seeks to break up the duel. It goes on over cliffs and up and down hills, ending with the furious plantation owner trouncing both the husband and the lover and dumping them in a pond, where they sit bedraggled and hangdog.

So it was never intended to be a complete film, and even what there is does not represent a coherent, careful assembly of what was shot. However, there are certainly elements that suggest that Welles had pretty good understanding of directing for the camera before he ever got to Hollywood. He makes clever use of camera angles, clearly planned some interesting intercutting, and has elaborate shots with important elements in both the foreground and background.

Welles obviously gave thought to expressing plot cinematically, as in an extended sequence in which the husband runs around knocking hats off the heads of passers-by to match their faces against a torn photo showing only the forehead and hair of the lover. He use a variety of angles, including high overhead shots and reaction closeups from the victims, to build this sequence. Neither this sequence nor most of the others was fully edited, so it's not easy to tell how Welles really envisioned it, but it is clear that he had a pretty elaborate plan for how it would play on screen.

In summary, this is not a film one sees for the entertainment experience, but rather because one has a deep interest in Orson Welles and wants to get a sense of what his own raw talent was like before he got to Hollywood, carefully studied film, and worked with experienced film professionals.

A dirty pun. Because the lead clairette (arlene francis) is married. But has taken a lover, augustus billings (cotton). And the lover must try to escape before he is discovered by the returning husband (barrier) . And it's actually all silent, so this one is for the patient viewer. The first few scenes have dialog cards, but none after that. Omg, the chase scene with the keystone cops just goes on forever! The ladder bit on the roof looks like something from harold lloyd. Lots of running around rooftops, fire escapes, mountains. Editing is terrible.. as described in the trivia. People mouth words to the camera, but mostly no cards showing what they are saying. Lots of repetition, since little editing was ever done. Early early role for mary wickes. Directed by orson welles. Unfinished work from william gillette's play of 1894. Please read the trivia items in imdb to have a full understanding of the challenges of having this sixty six minute film ever presented, in any form. It really is a silent film.