Strange, surreal, disjointed, and muddled. I can't help but feel that The Other Side of the Wind would have been better off left untouched; it feels unfinished as it is, so why bother? But I also can't help feeling that there is something here that I missed, given mood or immaturity as a filmgoer. Will revisit in 5 years, hopefully to different results.
After viewing the glorious, sad, philosophical swansong, a question pops up in my mind. Did Welles approve of Antonioni's "Zabriskie Point," which is the repeated not-so-obvious reference point of the film-within-the-film, or was he critical of it (and by extension, the European new wave)? Welles often had good reason for his actions. Perhaps Peter Bogdanovich has some knowledge on this matter from Welles' notes.
I was really baffled at what this even was. If its a parody of those art house 60s directors it still is something of an oddball. There were certainly no editing inputs from Welles or Graver. The scenes with Oja feel like a throwaway. John Huston and Bogdanovich's scenes have a little weight though.
As well as Citizen Kane was his opus magnum in respect of perfection, greatness and all-time one-of-the-best-movies-ever The Other Side of the Wind is his opus magnum considering experimentation and exploration of filmmaking and storytelling. A great example of ending a profound career as a filmmaker and auteur with a last great work.
I hate to bash a film that so many noble people went to great efforts to complete, but...man, was this hard to sit through. While it has some moments of impactful camerawork and dialogue, it mostly feels aimless. The pace is so frantic, you can't connect with anything happening, and the images and sounds soon feel hollow. If it's a satire of the arthouse scene, it's every bit as pretentious as that scene can be.
It must have been frustrating for Welles to see "inferior" European directors make tons of softcore sleaze while his attempts at artistic films never got founding he combined the two forms instead with Oja (aka. "the new" Soledad Miranda) acting in a kind-of Franco film-inside-the-film as Huston protest against the establishment and giving a middle finger to Hollywood in the process. Ahead of it's time even now.
Welles was always trying to push the artistic boundaries and unfortenately after his 'fall' in Hollywood his vision was increasingly difficult to achieve.'TOSOTW' is a prime example of this.Of course this is probably not the ultimate masterpiece but it still remains a very interesting movie,both influenced by New Wave cinema as well as a critical comment of it.Cheers to the people who made this restauration happen.
TV. Against the expectation that has kept me from this film for some time, its final authorship, although debatable by an editing mostly attributed to another, is indisputable. If we remember that "F for Fake" was so close, all here is diluted in fragments of sparse, contingent, derivative images, proposing one of the greatest boycotts on fiction that i have ever seen - Welles wasn't put into exile by Godard.
La película es un complejo juego de espejos que Orson Welles aprovecha para demostrar no sólo sus opiniones con respecto al panorama cinematográfico de entonces, sino también demostrar su talento inagotable, explorando un lenguaje experimental y dinámico propio de la era (la película dentro de la película que justifica el título de la cinta es realmente notable).La cámara y el montaje son atrevidos. Y ese final. Wow.
Orson is one of my favourites but I feel that this last effort of his not to die and to overcome citizen kane is only understandable, truly, in his mind. Yet, there're incredible scenes such as the sex in the car, the shadows when Oja runs away etc. To me she steals this film as I have never seen a more sexual face and demeanour. Oja, mantis of my dreams.
More than a fascinating piece of history, "The Other Side of the Wind" is a remarkable achievement insofar that it saw the light of day and will go on to be extensively analyzed. The bottled-up contempt for the elaborate façades and artificiality of cinema is profound, but the presentation wore me down. Discombobulated is putting it mildly. Far more intellectually stimulating to discuss than to endure.
A whirlwind of perspectives which can be somewhat disorienting at points. However, this is a film with a feeling of non-stop dynamism and actually feels rather fresh, ahead of it's time. Ultimately it's a film about making films, and about the culture of Hollywood. One which really takes a scalpel to dissect that from within. At the very least it is quite the experience and Welle's genius is evident throughout.
One of the mythical 'lost' films has finally been cut and released supposedly to Welles' vision and intent. The maverick filmmaking style on view is quite staggering and fits well within the director's canon even if at times it still feels unfinished. John Huston was incredible as the iconoclast director with a bevy of great supporting turns with exceptional turns by Norman Foster and Dan Tobin in small parts.
The discussion about this film should not lie on whether it's a good or a bad filmgoing experience, but about its status as a piece of film history itself. How many times do we get to see a film as talked-about and unique as this one? It is a portrait on artistic frustration both within and behind the film, and possibly the last testament of one of the greatest filmmakers who ever lived.
THE OTHER SIDE OF THE WIND is absolutely a masterpiece. Thanks to Netflix, Peter Bogdanovich, and everybody else who have tried so hard to finish this movie. Honestly, I still believe this movie isn't entirely completed. But, I think it's as near as Orson Welles' vision about this movie. To me, THE OTHER SIDE OF THE WIND is Orson Welles himself. This is a movie about him. John Huston's acting is beyond everything...