Return to Glennascaul

This short little ghost story feels just like that, a story someone might tell during a long drive or over a campfire. The details are obscure enough to make you wonder and the reaction of Orson Welles to the story told him here is priceless to witness. A short little film which manages to tell an haunting story in a very short amount of time.

Return to Glennascaul (1953)

** 1/2 (out of 4)

Orson Welles is on a break from filming OTHELLO and driving through the Dublin countryside. He picks up a man (Michael Laurence) who then tells him about a strange experience he had on the road the previous year. The man tells Welles about a couple women he picked up and the strange aftermath.

RETURN TO GLENNASCAUL isn't the most successful two-reeler ever made but somehow it ended up getting an Oscar-nomination. That's rather strange considering the film really isn't all that great plus the fact that Welles himself was often overlooked. The film is basically a ghost story but there's just nothing overly original about the story and the twist is certainly seen a mile ahead of when it actually happens. There's a little bit of an atmosphere but the short is really lacking any creepiness. The film is certainly watchable since it lasts under thirty-minutes but there's no question that it really isn't anything special. The most interesting thing about it is Welles and how there are a few jokes aimed at some of his various issues with the OTHELLO production.

Travelling through Dublin by car, Orson Welles (playing himself) gives a lift to a stranded man, who recounts a similar but strange occurrence of his own. Not particularly gripping as a ghost story; however, the detail is quite nice…and Mr. Welles' genial presence entirely welcome. Even so, the Academy of Motion Pictures Arts and Sciences thought it enough of a novelty at the time to deem it worthy of an Oscar nomination in the "Best Two-Reel Short Subject" category in 1953 – one that was eventually won by an obscure Walt Disney 'True-Life Adventure' documentary, BEAR COUNTRY! What is interesting to modern audiences in general and Welles scholars in particular is that the short under review was literally shot when the great man was taking a break from the filming of OTHELLO (1952) – an event which is captured in its very opening scenes! In fact, it was co-produced by Micheal MacLiammoir and writer/director Edwards who, were not only portraying Iago and Brabantio in Welles' exceptional filming of Shakespeare's tragedy, but had been Welles' theatrical cohorts in the late 1930s when he was just starting out. The restored version of the short – retitled ORSON WELLES' GHOST STORY – was overseen by genre producer Richard Gordon and introduced by the ubiquitous Peter Bogdanovich.

Interesting little short subject has Welles playing himself during a break from his tortuous shooting of "Othello". While driving thru Dublin on a stormy night, Welles offers a lift to a man with car trouble, who then recounts to him a supernatural experiance he'd had on the same stretch of road years ago.

A very measured short subject {seasoned quite well by the always welcome timbre of Welles' narration} keeps you interested thru the climax of the passenger's flashback which is genuinely chilling.

Listen quickly for Welles inside joke on the trouble with distributors...mechanical and otherwise.

During a break in the filming of 'The Tragedy of Othello: The Moor of Venice (1952),' Orson Welles recounts a creepy "tall tale" allegedly told to him by a broken-down motorist to whom he offered a ride. Welles plays himself in the film, acting not only as the narrator, but more involvedly as the resident storyteller. One can imagine that it was this role, in addition to his obvious talents on radio, that inspired 'The Fountain of Youth (1958)' – a wonderful half-hour television pilot for "The Orson Welles Show," which boasted a concept not dissimilar to "Alfred Hitchcock Presents," but with Welles taking a more active presence in each episode's production (inconceivably, the show was immediately rejected). One also suspects the film's influence on the BBC's "Ghost Story for Christmas" series, the most impressive of examples of which are 'A Warning to the Curious (1972)' and 'The Signalman (1976)' {adapted from stories by M.R. James and Charles Dickens, respectively}.

The best kind of ghost stories, I think, that those told through an intermediary – it keeps them grounded in reality, which paradoxically makes them all the more creepy. The viewer's natural inclination is to trust the narrator's word, but in this case the narrator must rely on the word of the motorist, Sean Merriman (Michael Laurence), who could be making the whole story up… or, he could be completely sincere. It's that uncertainty that makes 'Return to Glennascaul (1951)' a perfectly chilling ghost tale, and a fine companion for a cold, lonely winter's night. We must not, of course, underestimate the emotional resonance of Welles' narrating voice, which contributes just as much atmosphere as Georg Fleischmann's hazy photography. The film was nominated for an Oscar in 1954, but lost out to 'Bear Country (1953),' one of Walt Disney's two-reeler nature documentaries. In any case, think about 'Return to Glennascaul' next time you decide to pick up two female hitch-hikers – I, for one, will be following Orson's example!