I think Arkadin did Van Stratten a favor by hiring him to do some detective work. He was just a con man when he started, and not a very sympathetic one, and he turns out to be quite good at his task. There were some bad choices in terms of the direction, most notably making the audience seasick with the scene on the boat. In the end the daughter is forced to decide between the two of them.
Un film-giocattolo, inverosimile e rovesciato (per un uso "libero" della macchina da presa), di integrità ricostruite, reputazioni ripulite, menzogne ed omicidi, che mette in immagini l'idea (o, almeno, l'idea di Arkadin) che l'amore filiale va meritato. Welles sembra un vecchio leone, feroce, fiero, stanco.
"The Comprehensive Version". The camera angles designed to make him look bigger than life, the pretzel logic (although the story is actually simple, just twisted around to make it seem complicated) are all classic Orson Welles. My son is a huge Welles fan, so this was his pick for Family Movie Night this week. Both of us are more interested in scenes and images than plot, and Mr. Arkadin has plenty of them to offer.
A completely schizophrenic film watching experience where Welles was at his most inventive and insane. It was poorly received due to its batshit insanity and impossible narrative structure, but that’s why I freaking love it. An unstoppable glorified train wreck.
Scénario complexe, embrouillé à plaisir, avec une floraison de scènes décousues, au style heurté, sans transition apparemment cohérente. Le tout, pour une histoire fascinante de descente aux enfers où Welles inscrit toutes ses obsessions familières, avec une maîtrise et un brio qui provoquent admiration et respect... www.cinefiches.com
What could this film be without raping by studios? A masterpiece. And now it is heavily cut kaleidoscopic race of images often shot in Soviet Montage style. But Gregory Arkadin, another magnificent and at the same time disgusting character played by Welles is already enough to excuse all the flaws.
Somewhere up in cinema heaven, Welles might be sipping claret and smiling that his film about burying the truth doesn't even have an agreed-upon version. Having watched the 2006 "comprehensive" cut, it's a weird paranoid noir nightmare of post-war Europe, coming up short even on its own narrative terms, but constantly moving and turning up striking atmosphere and imagery. I'd take its chaos over The Stranger's order.
I can't believe i'm saying this, but Welles' style hurts the film. The issue is that the dizzying esthetic makes it difficult for me to follow this plot which was already difficult to comprehend due to all the awful accents and lack of subtitles. The style is also too bombastic and after a while becomes tiring to watch. It does improve in the last third, but by that point the damage is done. 2nd viewing may improve