É Tudo Verdade

The title of Orson Welles' film referred to the telling of some true stories that took place in Brazil. The title of the film about the film is also true, telling the story of one of history's legendary lost films which was re-discovered in 1985 and in still in the process of being restored. Of course, it can't all be restored because it was never finished, and in the movie Welles himself admits that he had a bad habit of pursuing projects in a way that was not profitable to him.

The film Welles went to Brazil to make was part of the allied good-will efforts in World War II. Funding for the film was cut off when the head of RKO was removed and, according to Welles, as a result of this abrupt stoppage of money, the movie was cursed by a voodoo witch doctor. The curse may have worked because not only was this film never completed, but also THE MAGNIFICENT AMBERSONS, which Welles was trying to edit at the same time that he was filming in Brazil, was ruined by RKO, a member of the Brazilian cast of IT'S ALL TRUE drowned, and Welles was fired from RKO.

What we see of IT'S ALL TRUE shows Welles' artistry, improvisation, and ability to capture atmosphere by means of imagery, camera angles, and characters. We see various elements of the unfinished film including the Rio carnival and the story of four heroic fishermen.

Welles improvized the film as he went along, giving RKO the impression that he was really doing nothing at all. But his theme was the brotherhood of all people. RKO didn't "get it" and thus, perhaps, the voodoo curse extended itself to the studio itself because it eventually was sold to Lucy Ball and Desi Arnaz to become Desilu Studios and later was absorbed into Paramount Pictures. Studio "suits" need to be more careful before cutting off the work of artists -- a fact that Welles would certainly affirm.

After years of reading about this aborted film of Orson Welles, I finally got to see It's All True on Netflix disc. We see interviews with him explaining how the new regime at RKO had not only reedited The Magnificent Ambersons without his input while he was in Brazil, but also how eventually they cancelled this one while he was there. There was supposed to be a story of a boy and his donkey, a carnival sequence, and one of four men on a raft going on a journey. There are only snippets of the first two but a more complete version of the last one which is silent with a musical score that sounds very modern. This was a fascinating find and I highly recommend It's All True for any Welles buffs out there.

It's All True (1993)

*** (out of 4)

Fascinating documentary about the trouble Orson Welles fell into with RKO when he finished up THE MAGNIFICENT AMBERSONS and went to Brazil to film what was basically a South American trilogy. Welles was involved in three films: MY FRIEND BONITO, filmed in Mexico about a boy and his donkey; CARNAVAL, which footage shown here is in glorious Technicolor; and FOUR MEN ON A RAFT, which contains the majority of the footage here. IT'S ALL TRUE isn't going to be a movie for everyone and I'd imagine that most people would find it deadly dull and lifeless. Film buffs, however, should get a real kick out of it but the sad thing is that you could remake this movie a dozens times because it happened so often to Welles. The documentary starts off at the end of CITIZEN KANE when Welles was already considered controversial. It then moves onto the disastrous screening of THE MAGNIFICENT AMBERSONS where Welles thought he'd have a chance to re-edit the movie but instead the studio did it behind his back. We then get into the filming of the three films and learn of the various issues that happened including the lack of money, a curse from a voodoo man and eventually the studio taking the films away. In a bit of great luck, the footage to the three movies were discovered in 1985 and seeing the footage is interesting. CARNAVAL really stuck out to me because of the amazing colors, which just leap off the screen in Technicolor. The footage looks remarkably well and just look at the wonderful details in the costumes that the people are wearing. The stuff on FOUR MEN ON A RAFT has the most footage and also gets quite a bit of a backstory about the real event, the real tragedy and of course how Welles got involved and what he did to try and save the film. Film buffs and fans of Welles will certainly want to check this out. We get some nice interviews with people who worked on the film as well as relatives to those actual people that the film is based on.

Welles was apparently asked by Nelson Rockefeller to make a film cementing USA-Latin American relations during World War II, to forestall possible Nazi influence in the South. It's easy to feel resentful about this film, especially if you've read David Thomson's majesterial 'Rosebud: The Story Of Orson Welles'. He relates how Welles' persistant and eventually pointless devotion to this project led directly , through his own lapses, to the destruction of his greatest film, THE MAGNIFICENT AMBERSONS.

On the other hand, this is a major act of cinematic restititution, the equivalent of finding a lost Shakespeare play, or Bach cantata. Any scrap of abandoned Wellesiana is vital, and needs to be seen, for its inherent brilliance of style and ideas, whatever its superficial shortcomings; and to give a more coherent grasp of an awesome, mercurial career.

The only problem is that the project, even if it had been completed, seems to have been wrongheaded, especially in consideration of Welles' particular talents. I had seen snippets of the samba sequence on TNT a few years ago, and they seemed redolent of a certain, loveable Welles - anecdotal, entertaining, sympathetic, larger-than-life, perceptive. A large element of the Welles aesthetic is play. The flaw of this film is that Welles abandons this because he wants to be seen in serious, selfless, unpatronising mode. This attitude today, however, can seem as simplistic, and even dangerous, as the worst pieties of Italian neo-realism.

The restoration is structured as a documentary, as we get a brief background to the story: both Welles' involvement, and the plight of the Brazilian people he portrayed. The film itself was intended to be a triptych. We only get snippets of the first two parts - 'Benito' has some remarkable camera angles later used more meaningfully in OTHELLO and THE IMMORTAL STORY; a loving capturing of Mexico, which, like DEUX OU TROIS CHOSES QUE JE SAIS D'ELLE, manages to aestheticise poverty; and a lovely shot of flying sheep. The second story was supposed to be about the roots of samba - we get some amazing, evocative colour footage of a Rio carnival, all the more moving and alive today when we think that this was going on in the middle of a black and white war.

The centrepiece of IT'S ALL TRUE is a supposedly complete 'Four Men On A Raft' (with an unintentionally comic reminder of 'Three Men On A Boat'): a reconstruction of four peasant fishermen's 1650-mile sea voyage to the Brazilian fascist leader, the appropriately named Vargas, to protest about their atrocious living and working conditions.

This is a silent work of the most ravishing beauty, with some of the most extraordinary images ever filmed, utilising, yet far superior to, Eisensteinian composition: the fishermen at work; life in the community; the sea voyage; visits to beautiful Mexican churches; the arrival of the men at a Rio beach. There is a jaw-dropping funeral sequence, a dwarfed procession under a weltering sky, which is among the best things in Welles (i.e. cinema).

It's just that I, personally, can't stand this kind of filmmaking. It's main influence is the unbearable Robert Flaherty, and besides a trite, TABU-style love story, there is an unthinking romanticising of the peasantry, ignoring them as actual human beings who might prefer not to be seen as so saintly, that verges on the offensive; a benevolent version of the white man's burden. Of course, Welles, politically, was a very decent, liberal, passionate man, but none of the methods used to politically expose, as well as humanise, Charles Foster Kane, are used here: that would be to trivialise the project.

It's this air of repressive earnestness that kills IT'S ALL TRUE for me. Welles could be a brilliant documentary maker - see F FOR FAKE - but this film, for all its peerless beauty, seems little more than propaganda, with Welles' atypical lack of ego making it feel unWellesian and underdone. This is doubly apparent during the closing credits, over which is played a wonderful, amusing encounter between Welles and Carmen Miranda, who explains to him various aspects of the samba. The heroic restorers deserve laurels, medals and a place at the celestial restoration of AMBERSONS, but if you want to see a great 'Good Neighbour' film, watch the magical THE THREE CABALLEROS.

At the start of WWII, Orson Welles was sent to Brazil with $1,000,000 to shoot Carnival as a good will gesture. New management at RKO disliked what they saw of what he was shooting and pulled the plug, but Welles stuck around as long as he could to complete shooting the true story of 4 fisherman who sailed a small raft along the coast to Rio to petition the President for equal access to public resources.

This 1993 documentary is essentially a half hour that tells this story, and then an hour of the footage Welles shot presented in as complete a version as possible. It's incredible footage that clearly isn't complete since it's largely without sound, but it's dazzling to look at. Welles gets really incredible performances from locals who are not only not actors, but have never seen a camera or even a film before.