Grilhões do Passado

Essentially, 'Mr. Arkadin' is Orson Welles' attempt in using cinema to elevate Pulp into Myth. Based on "a lot of bad radio scripts" (in Welles' words) written for the Harry Lime radio shows, one could also read it as a more personal attempt to free himself from the shackles of 'Citizen Kane' (with which it has numerous , although superficial, parallels) and be reborn as a Europeoan filmmaker. The fact that (again) Welles was restricted by budget and eventually dismissed from the editing room due to the commercial concerns of his producer Louis Dolivet does not diminish what is still a highly intriguing work. In fact, 'Mr. Arkadin' has become something of an enigma unto itself and the story of it's creation and subsequent undoing is as fascinating as the film itself.

For those interested in investigating further, The Criterion Collection have done a wonderful 3 disc edition which collates all the available edits (including two Spanish versions which are known, hilariously, by the unexplained mis-crediting of the lead actor!?) and working them into a 'final' version hinted at by Welles' notes and conversations with the ubiquitous Peter Bogdanovich (who also features in the documentary, unsurprisingly). This 'final' version, while far from perfect, restores the original flashback structure as well as the original beginning and ending sequences. On the first disc, however, is the 'Corinth' version (originally discovered by Bogdanovich) that already incorporates some of the author's original intentions. This particular edit also features a highly illuminating commentary track by Welles scholars Jonathan Rosenbaum and James Naremore who consider this version to be the most satisfying. Also included are three mp3's of the aforementioned Harry Lime radio plays that had a direct influence on the story, featurettes by Welles biographer and actor Simon Callow, and a highly welcome reprint of the Mr. Arkadin novel (or novelisation? - you decide) with an excellent newly commissioned introduction by Robert Polito. All in all, this set is a must for the Welles aficionado and should be of interest to anyone with a true appreciation of cinema.

The endless comparisons between this film and Kane made in these reviews goes to show how little people see beyond the obvious "power corrupts" theme that runs through pretty much ALL Welles' films (even Magnificent Ambersons portends the changes the automobile will have on the world). Besides this theme, Kane was a drama about a man robbed of his mother and his childhood who spends his life trying to recapture both, by playing at newspaper tycoon and building his own pleasure palace and by trying to fill the void where motherly affection should have been with the affection of everyone in the world.

Mr Arkadin is a thriller about a man so afraid of losing his daughter's love and esteem he is willing to kill to maintain it. The story is pure genius: after an opening shot showing an empty aeroplane in mid-air, we flash back to a man found stabbed in the back. Hence Welles sets up two mysteries at once for us to think about. When the knifed man tells Arden's girlfriend two names that are worth a fortune, Van Stratten thinks to blackmail Mr Arkadin with this scant information. Arkadin calls his bluff, and instead confides in Van Stratten that back in 1927 he found himself in Prague wearing a suit with a lot of money in his pocket and no recollection of who he was or how he got there - total amnesia. He hires Van Stratten to find out who Mr Arkadin really is, and thus Van Stratten embarks on a voyage around Europe, trying to trace Arkadin's life back from 1927.

At each destination in Europe, Van Stratten finds Arkadin there too, so we learn that Arkadin has more on the mind than tracing his origins. And when the people Van Stratten interviews start dying, the suspense is shifted up another gear.

Were it not for the lame performance by Arden and the odd moment of awful dubbing, this flawed masterpiece may well have been held in as high esteem as Kane, Ambersons, Touch Of Evil and The Lady From Shanghai, rather than being relegated to Macbeth's 'interesting failure' status. Storytelling wise, this is Welles' at his best, and it's surreal, disturbing plot is more a meeting of The Lady From Shaghai and The Trial than Citizen Kane. Personally, I think this is a greater picture than Touch Of Evil's plain power-corrupts line and The Lady From Shaghai which depends on one high-concept set-piece after another.

You guys are great...so much interesting, smart stuff in all the comments. What can I add? Well, I saw it last night, and I was thinking about The Auteur Theory and Roland Barthes' thoughts about the one big book of which all books are a part. And, although I haven't seen Alphaville for years, I realized that the connections between these two films are important: the Mizraki score and the performance of Akim Tamiroff.Godard is such a great mannerist, and this film (Arkadin) is such a basic text for director - driven cinema. How can this film mean anything to anyone who doesn't understand the rage to create - against all odds, against one's self-destructive nature, against one's death wish? It is "breathless", truly. Scenes never give the impression of ending, everything is done in overdrive, people are constantly looming, dizzyingly moving in and out of shot; the grotesquerie of the bad acting rhymes with the grotesquerie of the costume set pieces and with that of the B movie Euro - freak character actors parading, one by one, in front of the camera for their star turns. "Feeding time" indeed! I saw Arkadin shortly after seeing Spielberg's Munich. The only similarity is in the constant change of location. But where in the Spielberg this functions as a celebration of money, budget and the power of illusion, here each location is both overcrowded and threadbare. The Munich of Arkadin is a bombed-out nightmare with traces of its former elegance. The Europe of this film is so haunted and sleepwalking; the world of this film is made up of bits and scraps.

The fact that Arkadin connects closely to Kane or Quinlan is obvious and certainly interesting. Although it should seem obvious at this late date that Welles has patterns and themes that reoccur throughout his films. Does this fact still illuminate anything? If anybody questions the fact that Welles is an artist...well, this film will just add to their confusion. But for us believers this film can function like the ritual suffering of the penitents in the film. It hurts so good!

Did I ever mention that I watched Mr. Arkadin every day for three months once? And that I recently bought a version of it different from the one I bought years ago (supposedly the UK print), and enjoyed it like I was seeing it for the first time?

Welles is a childhood hero. There's nothing rational about my feelings about Welles. If there are Welles fan boys, I admit to being one. But I have entertained the notion that I like Mr. Arkadin (also called Confidential Report, sometimes) as much as I do because it so completely betrays Welles as a titanic artist having to deal with the small frustrations and vicissitudes of Everyman. The bones of the thing, the behind the scene life of the film, the fact that the whole thing at one point passed through the man's hands shows through more than on any film he ever made. You actually see the customs stamps at the end of reels! His stratagems are more obvious, his resources more threadbare here than even Othello, his most legendary prolonged/disjointed/truncated shoot. Parts of it look shot on Super8; as good as some of it looks, at other times, the lighting doesn't feel professional (I am thinking of the nightclub and penitent procession scenes). In the end, I think Arkadin is the one completed and released Welles film that humanizes the man, without exactly bringing him low.

Clinching my interest in the film is Welles' comment, reiterated for different interviewers through the years, that Arkadin contained the best story he ever thought up to film. (He made a radio script of it first, and when he refined it for film, he saw fit to keep perhaps 95% intact from the radio play.) I may not agree with Welles' own appraisal of Arkadin as a story, but again, his comments betray perhaps more than intended: Welles' deep, and possibly irrational, feeling of attachment to this film. He said he considered it the most 'destroyed' film (destroyed by outside interference) he ever made. --Worse even than The Ambersons! I really think he never had "closure" with the experience of making Arkadin, and it continued to haunt him the rest of his days.

I invite you to take a look at it (it is available in many cheap public domain DVD versions) and see if you, too, fall under its spell. If it leaves you totally cold, or you can't take it seriously, I understand. But remember, better and worse DVD versions exist. Supposedly, the Criterion Collection will release it sometime in the next couple of years. That may be the version to make your definitive move with.

Interesting but odd film about an amnesiac millionaire financier who hires an investigator to find his past . Screenwriter , filmmaker , star Welles adopting from his own novel and directing this strange flick , thematically similar to Citizen Kane . The novel and the screenplay were both based on an episode in the radio series, "The Lives of Harry Lime", in which Welles played his Harry Lime character as rather less villainous that he was in The third man . It deals with an American adventurer who investigates the past of mysterious tycoon Arkadin (Orson Welles) placing himself in grave danger . Guy (the Harry Lime character is renamed "Guy van Stratten" and is played by Robert Arden) finds it most pleasant to investigate Arkadin though his lovely daughter Raina (all of Paola Mori's dialogue was dubbed by Billie Whitelaw and Marlene Dietrich turned down the role), her father's idol. However Stratton learns that all the persons he asked about Arkadin are getting killed. Guy follows the descending and intriguing trail to a surprise final .

This suspense movie contains intrigue , thrills , plot twists and layered dialog prevail . Excellent acting by the maestro Orson Welles playing the life of yet another ruthless millionaire, he stars a famed tycoon with a shady past , similarly to Citizen Kane . It stars newcomers actors , as the credits read "And introducing Paola Mori" who married Orson Welles ; however, she had been in at least four films prior to this ; the credits also imply the "And introducing" refers to Robert Arden as well, who also had had at least two credited big screen performances . Good support cast as Michael Redgrave as Burgomil , Patricia Medina as Mily , Akim Tamiroff as Jakob Zouk , Mischa Auer , Amparo Rivelles , Katina Paxinou as Sophie , Grégoire Aslan as Bracco , Peter van Eyck as Thaddeus and Suzanne Flon as Baroness Nagel ; but even the efforts of a cool cast couldn't help Welles turn this into a critical or commercial success . Filmed over two years around Europe , required seven years of post production , before finding distribution in 1962 . It has recently released a comprehensive three-DVD set of the film, featuring three versions: the "Corinth" version¨ that was generally regarded closest to Orson Welles's cut, "Confidential Report" or European cut, and the newly edited "Comprehensive" version. Each version contains a few shots or lines that are missing from the other two. Because the film was taken out of Welles' control in post-production, we will never know exactly what he had in mind for the complex flashback structure he spoke of later in his life. Mr. Arkadin was created from three episodes of the 1951-1952 radio program, The Lives of Harry Lime: Man of Mystery , Murder on the Rivera and Blackmail Is an Ugly Word. Arkadin is based mostly on the first of the three and centered on a character named Gregory Arkadian , primary characters and set-ups are taken from the other two episodes . Good cinematography in black and white by Jean Burgoin , as in Citizen Kane is plenty of oblique camera angles . Atmospheric and evocative musical score by Paul Misraki .

Mr. Arkadin also titled Confidential Report was well directed by Orson Welles , a genius who had a large and problematic career . In 1938 he produced "The Mercury Theatre on the Air", famous for its broadcast version of "The War of the Worlds" . His first film to be seen by the public was Ciudadano Kane (1941), a commercial failure , but regarded by many as the best film ever made , along with his following movie , The magnificent Ambersons . He subsequently directed Shakespeare adaptation such as Macbeth , Othelo and Chimes at Midnight or Falstaff . Many of his next films were commercial flops and he exiled himself to Europe in 1948. In 1956 he directed Touch of evil (1958); it failed in the U.S. but won a prize at the 1958 Brussels World's Fair. In 1975, in spite of all his box-office flops , he received the American Film Institute's Lifetime Achievement Award, and in 1984 the Directors Guild of America awarded him its highest honor, the D.W. Griffith Award. His reputation as a film maker has climbed steadily ever since.