I’d start with the Corinth version (I think that’s the most truncated) and work my way up to the comprehensive version.
Of course you might want to do it in reverse & see the best version first, because the msot severely cut might turn you off to the film. I’m odd in that I’ve loved this film from the first time I saw it back in the 1970s (I think) when only the shortest version was available. I’ve spent years asserting that it’s a better film than was being acknowledged.
I’ve only seen the Comprehensive so far, thought it was great.
So, I want to see Arkadin but don’t know which version to start off with. Is the “comprehensive” version closer to Welles’ version? Which one is the best version? This thread died without much discussion, so I thought I’d try to revive it since I want to know which one I should put on my netflix queue and I know there are people on this forum who are knowledgeable about this film.
There is no “best” version, as all versions of the film did not get final edit by Wells, and the film was essentially butchered to no end. But if you’re going to go with one to start, might as well go with the so-called “comprehensive version” and save the worst for last.
Comprehensive is the one I prefer, it’s the “closest” to Welles’ original vision (they worked from production notes and various other materials).
All you need know is all versions are bad – including the ‘comprehensive’ one. This was one project that Welles should have left on the drawing boards. He even dubbed-in some of the voices for the other characters in the more ‘complete’ version. The special features are fascinating, but Mr. Arkadin is for die-hard Welles fans and completist of Welles’ work only. Glad I saw it, but glad I don’t own it. Btw – I love much of Welles – just not this.
Bob, Welles’ dubbed-in other character’s voices in nearly all of his films. And you’re right, it is a flawed film – I’d consider it the definition of “flawed masterpiece” because it’s had such a troubled existence but also consists of all of Welles’ cinematic traits and inclinations. Self-indulgent – I’d call it that too, but in a loving tone.
Welles often dubbed in voices for other characters. Several scenes in “Touch of Evil” have him in essence talking to himself.
The version of “Mr. Arkadin” I’m most familiar with was the one relased by New Yorker films in 1962. A “Film Mauudit” if there veer was one, cursed in countless ways, I nonetheless filnd “Arkadin” fascinating. Less a narrative than a compedium of Guest Star turns it features Welles most fascinating mobile camera work, particularly a rapd track backwards that Bertolucci copied in “The Conformist” and has used ever since.
Given the way his character is writte Robert Arden is really quite good. But the film belongs to Akim Tamiroff, Katina Paxinou (“Because I was crazy in love with him, Meester!”) , and Michael Redgrave.
Plus Paul Misraki’s great score.
I’ll try to watch Arkadin soon — I think it’ll probably be the confidential report version since I can stream it through netflix — because I’m always eager to talk about Welles.
adam
I finally picked this set up, and was wondering if anyone had any suggestions as to which version to watch first.