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Jonathan Rosenbaum, "The Seven Arkadins", Jonathan Rosenbaum (ed.). Another of Orson Welles’ works in which we have but an approximation of his original intent to consider, but the most widely seen and available version of Mr. Arkadin (also known as Confidential Report) is a fine showcase for what made his filmmaking so fascinating. The Complete Mr. Arkadin (A.K.A. Rosenbaum suggested that the book was written in French and then translated into English, since lines from the script were approximations that seemed to have been translated from English to French to English again. In his 1991 essay, "The Seven Arkadins", film historian Jonathan Rosenbaum identified seven different versions of the story, and since its initial publication, a further two versions have emerged including a novel and a stage play. He wants Stratten to tell him. Note that in the film, the popular Harry Lime character from The Third Man is replaced by the less sympathetic Guy Van Stratten, since Welles did not own the copyright to the Lime character as character rights had been bought by Harry Alan Towers for the Lives of Harry Lime radio series.[7]. Differences to this version include the presence of off-screen narration from Van Stratten. Directed by Orson Welles • 1975 • France, Iran, Germany. It uses all available English-language footage, and attempts to follow Welles' structure and editing style as closely as possible and also incorporating his comments over the years on where the other editions of the film went wrong. With no time to tell her everything, Stratten coaxes her to say over the radio "he told me everything". They get away as Bracco dies, and approach Arkadin, a famous and super-wealthy businessman (Orson Welles), to see if the murder and vague references to his "secret" can be used to blackmail him. He stays at the airport, and she drives away with a previous boyfriend from England. ", "I didn't write one word of that novel. Relentlessly fascinated by questions of free will, human fallibility, and the line between illusion and truth, many of Welles’s lofty, brilliant films have, like the man himself, passed into the realm of myth. The "Corinth" version of Mr. Arkadin. Mr. Arkadin (first released in Spain, 1955), known in Britain as Confidential Report, is a French-Spanish-Swiss coproduction film, written and directed by Orson Welles and shot in several Spanish locations, including Costa Brava, Segovia, Valladolid, and Madrid. In his 1991 essay, "The Seven Arkadins", film historian Jonathan Rosenbaum identified seven different versions of the story, and since its initial publication, a further two versions have emerged. (95 mins) It entirely removes the film's flashback structure and presents a simpler, linear narrative. Confidential Report) includes digitally restored transfers of the two well known versions of the film (the flashback "Corinth" (99 minutes) version and the notorious linear "Confidential Report" (98 minutes)). Whilst the Criterion edit restores the film opening on a woman's body on the beach, only a long shot exists (taken from the Corinth version) in which it is unclear whose body it is; and so no close-up of Mily could be used as the footage no longer exists. Within this contentious arena, I consider the so-called Corinth version of the film the most satisfying, particularly in terms of its labyrinthine storytelling. 8. (99 mins) - named after Corinth Films, the initial US distributor of the film. Starring Orson Welles, Keith Baxter, Jeanne Moreau. Meanwhile, Arkadin learns to his chagrin that Raina actually cares for Stratten and that Stratten wants to marry her. Directed by Orson Welles • 1968 • France MR. ARKADIN: The Corinth Version Episode 1. However, it still only remains an approximation - for instance, Welles remarked that his version of the film began with a woman's body (Mily) on a beach, including a close-up which makes her identity apparent to the audience. Arkadin's only human tie in a life of power and pleasure is his daughter Raina (Paola Mori), and Stratten manages to strike up an acquaintance with her and thus get into Arkadin's castle in Spain. Orson Welles' first color film and final completed fictional feature, THE IMMORTAL STORY is a moving and wistful adaptation of a tale by Isak Dinesen. The basic plot of a wealthy Mr. Arkadian (spelt with three As in this version) commissioning a confidential report on his former life can be found in the episode "Man of Mystery" (first broadcast 11 April 1952), while the episode "Murder on the Riviera" (first broadcast 23 May 1952) and the final episode "Greek Meets Greek" (first broadcast 25 July 1952) both contain plot elements repeated in the film. In addition, several different versions of the film were released. Achieving this kind of indetermination in a film is the highest goal that I always hope for, but can never achieve. When Welles missed an editing deadline, Producer Louis Dolivet took the film out of his hands and released several edits of the film, none of which were approved by Welles. He and Raina also develop feelings for each other, though they cover them up with cool sophistication. 9. From such people as the proprietor of a flea circus, a junk-shop owner, an impoverished noblewoman in Paris, and a heroin addict he tortures with withdrawal, Stratten learns that the pre-1927 Arkadin was involved in a sex trafficking ring in Warsaw that trapped girls who thought they were joining a dance school, and sent them to be prostitutes in South America. 5. After the opening credits, it begins with Van Stratten's narration on the docks. Classics and discoveries from around the world, thematically programmed with special features, on a streaming service brought to you by the Criterion Collection. He then hires Stratten to find out the truth about his own past; he says he woke up in a square in Switzerland in a new suit with a large sum of money in his pocket, and no memory of who he was or what he had done before that day in 1927. Crucially, none of the versions available before 2006 contained all the footage found in the others; each had some elements missing from other versions, and each has substantial editing differences from the others. When Arkadin hears the lie, the radio link goes silent, and Arkadin commits suicide by falling out of his rolling plane, which later crashes. The screenplay follows a strictly chronological structure rather than the back-and-forth structure of the film. He realizes that Arkadin's real motive for hiring him was to uncover whatever evidence of Arkadin's sordid past so that Arkadin can eliminate said evidence. Bracco does not want his last moments to be taken up with doctors and police, and he rewards the couple for not calling them with two names that he says will be profitable to them: he names Gregory Arkadin to Stratten, and one "Sophie" to Mily. In his 1991 essay, "The Seven Arkadins", film historian Jonathan Rosenbaum identified seven different versions of the story, and since its initial publication, a further two versions have emerged. 7. In Robert Altman's acceptance speech for his Honorary Oscar at the 78th Academy Awards (literally the only worthwhile moment in the entire broadcast), he good-naturedly likened his movies to sandcastles on the beach: Built by … Mori was the stage name for the Countess Paola Di Girfalco, who would become Welles’ third wife. [9] Until the 2006 re-edit, it was believed to be the closest version to Welles' conception. Though the creators of this "restored" version express their doubts as to the "correctness" of altering another artist's work, this new cut is far and away the most comprehensible and easy to follow of any of the known versions. [13] It was compiled in 2006 by Stefan Drössler of the Munich Film Museum and Claude Bertemes of the Cinémathèque municipale de Luxembourg, with both Peter Bogdanovich and Jonathan Rosenbaum giving technical assistance.

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