The Eyes of Orson Welles

2018

Documentary

1
Rotten Tomatoes Critics - Certified Fresh 93%
Rotten Tomatoes Audience - Upright 80%
IMDb Rating 6.7 10 720

Synopsis


Uploaded By: FREEMAN
April 26, 2021 at 11:06 PM

Director

Cast

Orson Welles as Self
720p.WEB 1080p.WEB
1.03 GB
1280*714
English 2.0
NR
23.976 fps
1 hr 55 min
P/S 0 / 5
1.92 GB
1920*1072
English 2.0
NR
23.976 fps
1 hr 55 min
P/S 1 / 9

Movie Reviews

Reviewed by jrgibson-51931 2 / 10

Self indulgent and pretentious.

Being a longtime admirer of Welles and his work, I looked forward to seeing this documentary but I found it tedious and boring. Of the many documentaries on Welles, this was the least interesting and Mark Cousins, while clearly in awe of his own brilliance, stretched what could have been an interesting and informative one-hour film about Welles drawings/paintings and film compositions into a two-hour pretentious commentary on Orson's films, politics and romances. If you never heard of Welles or seen one of his films, you may learn something from this opus, otherwise, watch one of the many interviews with the endlessly entertaining and fascinating Orson Welles instead of this attempt to cash in on the renewed interest in the great man, created by the long-awaited release of The Other Side of The Wind.

Reviewed by dlynch843 3 / 10

More vision, less talk

I agree with some of the reviews here that the narration was awful. There's nothing wrong with an Irish accent, unless it's delivered by a pretentious bore. Why did Cousins think Welles fans would be interested in listening to his opinions for 2 hours? It felt like 3. The documentary was advertised as a look at Welles' art work. OK, we see a lot of it, and it looked like there was more. We see Welles' daughter, and when she started to talk, Cousins cuts in and ends a potentially interesting part of Welles' life. I cannot recommend this to those who want to see a good documentary.

Reviewed by paul2001sw-1 7 / 10

The Eyes of Mark Cousins

In his imaginative take on the life of Orson Welles, Mark Cousins looks at Welles's personal sketchbooks - he was an inveterate scribbler, though he rarely went as far as to produce what we might call finished artworks - and sees the connections to his films, and to his life. This is not just a novel but also an interesting approach: film is a visual medium, but the visual side of a movie is the hardest thing to talk about: the sketches provide a key to the way that Welles conceived his tableaux. The other part of the thesis is that Welles's choice of movies tell us something about his private character. This is more contentious: does someone choose to play Falstaff, say, or film Don Quixote, because the character fits their own self-image? Maybe not, but Cousins gives us a credible speculation of how Welles' own character manifested itself in the work he produced, of how his films reveal the man who made them. Instead of a conventional narrative, Cousins prefers to engage in one half of an imaginary dialogue with the auteur: at times this is less successful, as when Cousins seems to impute a connection of Welles with Ireland that seems more important to him than he manages to convince us it was to Welles. Overall, though, it's a worthwhile endeavor: Welles's story is well known, its arc usually presented as tragic; but Cousins succeeds in making us view it through fresh eyes.

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