Clearly another reviewer and I disagree in our assessment of this film. I did find "The Other Side of the Wind" worthwhile, but I have mixed feelings about this skewed portrayal of this masterful filmmaker. Having said that, some of the old film clips were well-chosen.
On a logistical level, this film is not what one would expect... most all of the friends and colleagues become talking heads who are not individually identified, until the rolling credits, where a slew of names are lined up. That said, Peter B is easily recognized, and a few others' identities are inferred by their comments. When Oja speaks, you are left to imagine what she looks like nowadays... I presume that she insisted that her sound bites would not include visuals.
What disappointed me the most were the cynical snipes made about the approach and demeanor of Welles, from several people closely associated with him. Some of their barbed comments served to discount the great complexity of this man. I wonder if these folks had enough nerve to frankly state their views in front of his face while he was alive? One celebrity commented on his demanding preference for a particular snack food. On the surface, the remark said more about her.
It strikes me as ironic that one clip shows Welles speaking on the essential value of editing, yet this film has chosen to slice things up into brief sound bites. As a result, the tone of the interviewees resemble a bitter pill, as if to say: while we might recognize the genius of this man, the viewer would do well to witness his significant deficiencies.
There are cherry-picked clips which try to convince the viewer about Welles impulse to control the details. Newsflash: many great artists fall prey to obsessiveness. We see Welles give a specific note to Norman Foster on his delivery. Foster transformed the line in-a-flash, and it was vastly improved. If this film intended to cast a shadow on the esteemed artful nuances which Welles strove for, then it failed.
Each viewer will have a different take on this film. As for me, the approach and tone of this film left me feeling defensive, and a bit sad.
On a logistical level, this film is not what one would expect... most all of the friends and colleagues become talking heads who are not individually identified, until the rolling credits, where a slew of names are lined up. That said, Peter B is easily recognized, and a few others' identities are inferred by their comments. When Oja speaks, you are left to imagine what she looks like nowadays... I presume that she insisted that her sound bites would not include visuals.
What disappointed me the most were the cynical snipes made about the approach and demeanor of Welles, from several people closely associated with him. Some of their barbed comments served to discount the great complexity of this man. I wonder if these folks had enough nerve to frankly state their views in front of his face while he was alive? One celebrity commented on his demanding preference for a particular snack food. On the surface, the remark said more about her.
It strikes me as ironic that one clip shows Welles speaking on the essential value of editing, yet this film has chosen to slice things up into brief sound bites. As a result, the tone of the interviewees resemble a bitter pill, as if to say: while we might recognize the genius of this man, the viewer would do well to witness his significant deficiencies.
There are cherry-picked clips which try to convince the viewer about Welles impulse to control the details. Newsflash: many great artists fall prey to obsessiveness. We see Welles give a specific note to Norman Foster on his delivery. Foster transformed the line in-a-flash, and it was vastly improved. If this film intended to cast a shadow on the esteemed artful nuances which Welles strove for, then it failed.
Each viewer will have a different take on this film. As for me, the approach and tone of this film left me feeling defensive, and a bit sad.