Black Magic

Trivia Question: What role was played (in the movies) by both Orson Welles and Zero Mostel? Answer: Joseph Balsalmo, a.k.a. Cagliostro, the charlatan magician who was a leading social figure in Europe in the 1780s and early 1790s. Mostel, early in his film career, played the imposter in DU BARRY WAS A LADY, opposite Red Skelton and Lucille Ball. Welles played the role in BLACK MAGIC, a more serious film based on one of Alexander Dumas Pere's innumerable historical fables.

Basically, the film follows the rise and fall of Cagliostro, building up his tangential involvement in the notorious "Affair of the Diamond Necklace" (1785) which has been the subject of a serious film two years ago. Cagliostro was arrested in that affair's investigation, as the actual culprit was smart enough to lay a path of clues pointing to his involvement.

He was released at the conclusion of the investigation (and banished from France). This movie puts him into the center of the plot, his hope being to use it to discredit the Bourbons and take over the country (in reality he would not have gotten anywhere near such a situation - his own aristocratic associates would have prevented it). Welles does nicely as the power-intoxicated anti-hero, but the plot is so ludicrous that it is hard to believe what's going on. But, come to think of it, the affair of the Diamond Necklace itself was pretty ridiculous, so who should complain.

There seems to be a cottage industry among film scholars to try to expand the films of Welles that he directed. For the record he directed CITIZEN KANE, THE MAGNIFICENT AMBERSONS, IT'S ALL TRUE, THE STRANGER, THE LADY FROM SHANGHAI, MACBETH, OTHELLO, CONFIDENTIAL REPORT/MR. ARKADIN, TOUCH OF EVIL, THE TRIAL, CHIMES AT MIDNIGHT, F IS FOR FAKE, and two television films: THE FOUNTAIN OF YOUTH and THE IMMORTAL STORY, all of which he completed except for IT'S ALL TRUE (which has since been somewhat preserved and edited, and is on video). He also had a hand in JOURNEY INTO FEAR, MONSIEUR VERDOUX, and THE THIRD MAN. There are some films he directed that (for one reason or another) were never cut or released: DON QUIXOTE, THE OTHER SIDE OF THE WIND, and one other that had to do with people on a sinking yacht. Roughly 21 movies. For a major cinema talent it is a pitiful number (only the French director Jean Vigo is of Welles' stature and did less - but Vigo died prematurely after making three films). So it is understandable that Welles' myriad of fans would want to expand his filmography. But is this actually wise.

If one could show Welles' involvement in a film it is a plus to his reputation and that film. Take MONSIEUR VERDOUX. Chaplin had to put down credit that Welles' gave him the idea for VERDOUX - actually Welles suggested doing a film with Chaplin as Henri Landru (the actual wife murderer Verdoux is based on) and Chaplin said no but took the story and turned it into the greatest black comedy film made before DR. STRANGELOVE. People pass ideas back and forth all the time. There is no evidence that Chaplin asked Welles to suggest camera angles or look over the script (Chaplin was brilliant enough to handle that by himself). But it is mentioned in the film credits that Welles suggested the idea for the film. Enough said for that reason.

There is no screen credit for Welles assisting Gregory Ratoff in directing BLACK MAGIC. Perhaps there is a reason for this - Welles may have accepted this for tax reasons (he had large tax problems in the U.S. after 1946 when a Broadway production of AROUND THE WORLD IN 80 DAYS with music with Cole Porter flopped). Or perhaps because of industry word that he was an unreliable film director who went over budget (his most successful film was THE STRANGER, which is also one of his least Wellesian in structure or special touches). Or, Welles may have noticed the film was not that particularly interesting or good. It isn't. It is rather padded, and has only one curious element in it: Welles or Ratoff had most of the cast play two roles each. That is a curious innovation, but hardly worth noting. The same year that Welles or Ratoff did that on Black Magic, Alfred Hitchcock did his famous nine minute static scene takes in ROPE. Although not a great idea, it was innovative, and most people recall that film for that particular innovation. Hitchcock also made DIAL "M" FOR MURDER in 3-D, with more success than most directors. But then Hitchcock was a better director than Ratoff.

Welles and his friend Akim Tamiroff do well in their juicy parts, but not so the other performers (although the role of Dr. Anton Mesmer is of some interest). As a result the film is fairly forgettable. Which would be a good reason not to include it in a list of Welles' films that he directed. Keep his own work under his own name. Hopefully more of the cut scenes from his own films will eventually get restored. Even to THE STRANGER, but (from our words to God's ear) most hopefully for AMBERSONS.

I see a lot of praise heaped on this is some of the other reviews and I have to wonder how much of that is based on the idea that Welles was frequently behind the camera and taking the lead.

That is the case and it often shows. Welles style and eye can be seenbat several points during the film. Unfortunately this in and of itself does not ultimately make this a good film. It is very much a product of the assembly line era that it came from.

Take out Welles contributions which in certain scenes give us great shots and what you have is a completely forgettable period piece with a convoluted story that overstays its welcome in terms of length. The film feels too long, yet does not do enough with its running time. Here is Cagliostro the boy, here is Cagliostro the man, here is Cagliostro the toast of high society... all in the blink of an eye, with the only exculpatories being some montages of mass healings. Poor and rushed storytelling, only to hurry up and wait when Cagliostro happens upon the man whom he has sworn to never forget, and the rather tedious and drug out revenge plot takes over.

Nothing I say will stop anybody from watching this, and that's a good thing, you should watch it. It is an interesting bit of the Orson lore, but don't expect the "lost classic" or a "hidden masterpiece". It is neither of those things.

Black Magic is an unjustly neglected 1949 Orson Welles film, based on Alexandre Dumas's novel Joseph Balsamo, a fictionalized version of the life of the occultist better known as Cagliostro, set mostly against the background of the days just before the French Revolution. The film is entertaining and well done, though it's a pity that it's in black and white, since the meticulously recreated ancien regime sets and costumes would have looked much more impressive in color. Welles reportedly said that he had more fun making this film than any other, and it's easy to see why, since the melodramatic script gives ample room for over-the-top histrionics, which only an actor of Welles's talent could put over convincingly. It's interesting that Welles here again plays an eccentric genius whose early success was soon undermined by his own flaws -- in other words, a character whose career is intriguingly parallel to his own. I think most people will find the film entertaining, and real Welles fans should consider it a must-see.

The Hen's Tooth Video DVD seems to be the only Region 1 DVD currently available, and it's of adequate sound and image quality, though from a rather poor original print. The film is certainly important enough to deserve a redigitized version with booklet and special features, if possible from a better print, but lacking that, the Hen's Tooth Video version is watchable.

During his lifetime Orson Welles appeared in many films of other directors to earn money to finance his own projects. Some of those films were horrible, some contained some of his best performances. I always have felt his best performance in a non-Welles film is in Compulsion. Many would hold out for The Third Man. But I think some would say that his portrayal of Cagliostro the great mountebank of the 18th century would get a few votes.

The opening scene and dialog with Berry Kroeger and Raymond Burr as Alessandro Dumas Senior and Junior is an interesting well acted scene. Kroeger has set out to write a novel based on Cagliostro, but he cannot get a handle on the character. A common complaint with authors trying to reach a goal.

The real Cagliostro's character would probably rate a mini-series. This guy was some piece of work. The affair of the diamond necklace as portrayed here was only one chapter in Cagliostro's life. Failing as the senior Dumas said he was doing he wrote a novel with some plot elements from previous work like The Three Musketeers and The Man In The Iron Mask.

As a child Joseph Balsamo aka Cagliostro saw his gypsy mother executed for practicing black arts by Stephen Bekassy the local prefect, a skill which he inherited. His natural abilities as a hypnotist were developed with study under Dr. Mesmer played here by Charles Goldner. But like characters in stories involving superheroes Orson Welles as the grown up Balsamo now stylizing himself as Cagliostro is ready to make a name for himself.

Bekassy has also risen in power and influence and he's got some intrigue going. Welles whom he does not recognize is part of his plan, but Orson has some plans of his own.

Part of those plans involve Nancy Guild who plays the dual role of a girl from out of town and the Queen of France herself Marie Antoinette. Guild does equally well as the girl in love with soldier Frank Latimore the nominal hero of the film. As Marie Antoinette she's not as noble as Norma Shearer in the same part, but no doubt she's royal personage used to royal prerogatives. I do love the scene where Guild gives Madame DuBarry played by Margot Grahame the old fashioned heave ho.

The real Cagliostro died in 1795 surviving the King and Queen of France and he left the mortal coil in Rome. But Black Magic is the kind of film that makes you wish what happens here is true. Orson Welles has so many emotions working at once in the title role, greed, revenge, lust and a spark of a little boy whose mother was taken from him. Note also good performances by Akim Tamiroff and Valentina Cortese as the gypsy confederates of Cagliostro. Cortese is carrying one big old freedom torch for Welles, but he's no time for her, eyes on the prize as it were the prize being the power behind the throne of France.

Quite a few people will see Black Magic as Orson Welles's best performance in a non-Orson Welles film.

I just watched the video of BLACK MAGIC again tonight and was once again impressed with it. Orson Welles turns in one of his finest performances. I was also impressed by the quality of the production considering it wasn't a Hollywood studio production (although it was released by United Artists). Elaborate costumes and sets and tons of extras. Interesting plot and photography. It has a nice film noir look to it. But the best part of BLACK MAGIC is Welles.