Customer Reviews

The Magnificent Ambersons [Colorized Version] [VHS]

5 star:		(37)
4 star:		(10)
3 star:		(1)
2 star:		(2)
1 star:		(1)

 

 

Orson Welles's adaptation of Booth Tarkington's award-willing novel and follow-up to Citizen Kane is a true screen classic. As with Kane, this film contains many wonderful performances by all the leads including Joseph Cotton, Agnes Moorehead, Dolores Costello, and Tim Holt as George Amberson Minafer. Welles continued his experimentation with film technique and you will notice similar camera angles and lighting, to those in Kane. The lighting is something exploited to good affect here, especially in the scenes inside the Amberson mansion. The story is a simple one: Eugene Morgan (Cotton) and Isabel Amberson (Costello) young lovers, who through a somewhat frivolous circumstance end up marrying other people. After they've both raised children, they again find themselves free to begin where they left off in their youth. But Isabel's son (Holt) does not approve of their relationship, in spite of the fact that he is in love with Morgan's daughter, Lucy (Anne Baxter). Set at the turn of the 20th century, the movie has a wonderful feel and texture, which effectively evokes the period. An interesting backdrop is the development of the automobile, with Cotton an early proponent and tycoon, and its effects on not only the American economy, but on the changes it brings to society as well. Morgan, once spurned as a little too common for Isabel returns again to his hometown a successful industrialist. As his fortunes climb, those of the Ambersons fall. As already mentioned, the film is packed with wonderful performances. Agnes Moorehead was nominated for Best Supporting Actress and won the Best Actress award from the New York Film Critics Circle. As the lonely, sorrowful Aunt Fanny, hers is a delicately crafted characterization. Cotton as the auto tycoon Morgan, gives another understated and subtle performance; a young Anne Baxter is lovely as Cotton's daughter Lucy; and Tim Holt, a name all but forgotten today, is magnificent in the pivotal role of George Amberson Minafer. One of the most interesting scenes in the film is the ball at the Amberson mansion. The camera seems to float along with the players seemingly without a break, putting the viewer right in the midst of the cast. A great film, worthy of multiple viewings, The Magnificent Ambersons has earned its place among Hollywood's greatest films.

What a travesty it is that as of this writing, Orson Welles' "The Magnificent Ambersons" is not available on DVD, while the far inferior 2002 remake is. Welles' managed to follow up his landmark debut "Citizen Kane" with another masterpiece, despite studio meddling which reduced the film's length by 43 minutes.

Eschewing "Kane's" fragmented structure, "Ambersons" employs a linear narrative to chronicle the rise and fall of the Amberson family, who become an allegory for pre-industrialized America. Though the film undeniably laments the passing of the simpler, 19th century way of life (most effectively in a nostalgic prelude narrated by Welles himself), the conflict between past and progress is complicated by the impudence of George Minafer (Tim Holt), scion of the Ambersons, and the amiability of Joseph Cotten as the inventor whose automobiles contribute to the decline of the Ambersons' magnificence. "Ambersons" is characterized by masterfully choreographed long takes, which allow Welles to extract thematic content from the material through sheer compositional virtuosity. "The Magnificent Ambersons" remains a powerful experience despite the loss of several key scenes; RKO chopped Welles' diamond, but could not obscure its brilliance.

For those truly interested in what Welles' original version of "The Magnificent Ambersons" would have been like, I strongly recommend Robert Carringer's "The Magnificent Ambersons: A Reconstruction" and Peter Bogdanovich's "This Is Orson Welles". Both books provide considerable detail regarding the significant re-editing and re-shooting which took place on this film. What remains in the released version of Welles' second film is astonishing, but much of the story's logic was lost in the re-cutting, as was important character motivation. Exactly why did the Ambersons lose their fortune? What propelled George to rebuff Eugene? Welles' original version answered these questions and presented an incredible vision of a world overrun by industry. The destruction of this original version of the movie is simply the greatest injustice done to American cinema. Alas, we can still marvel at the film's beautiful performances, the gorgeous "snow ride" scene, the astonishingly realistic "kitchen" scenes and Welles' incredible narration. By all means, watch this movie, but do some reading about what it was meant to be and then use your imagination to see the greatest American movie ever made.

"Of all sad words of tongue or pen. The saddest are these `it might have been' " That proverb seems made specifically for this film. Orson Welles' big screen adaptation of the "Magnificent Ambersons" was cut from two hours down to an hour and a half. The excised footage was destroyed so there will be no `directors cut' of this film.

Lavishly shot, wonderfully directed, and superbly acted this film takes it rightful place as a movie classic. It consistently makes the list of the all time greatest films.

HOWEVER, the loss of 1/3rd of the film shows throughout. It is a masterpiece of design and acting, but I found the plot to be jumpy often skipping over important elements from the novel. The characters (with the notably exception of Agnes Moorhead) never really get a chance to grow and develop or show their inner selves.

The basic plot centers on new money versus old money. The Ambersons are the acknowledged masters of the town and their crown princess Isabelle spurns the advances of Eugene Morgan a young inventor. Twenty years later Morgan, now a rich widower, and his comely daughter return to the town and meet up with the Ambersons. George Amberson Minever scion of the clan falls in love with young Lucy and the elder Morgan begins to renew his courtship of the widowed Isabelle. George objects to the match and places all possible obstacles in the way of the automobile magnet and his mother. As progress moves forward the automobile changes the way of life for everybody and the rich and powerful Ambersons find themselves behind the times and losing both thief fortune and prestige.

This is a classic movie and what is left is well worth seeing over and over again.

"The Magnificent Ambersons" is two stories rolled up into one. I will explain them one at a time.

First of all, it is the story of a late nineteenth century family, the Ambersons. The Ambersons are a large, wealthy, New England family who are held in high esteem in their community. They live in a large, beautiful mansion where they hold balls and invite all the town folk.

Unfortunately, the Ambersons are also very old fashioned and are unable to keep up with the changing times. When Wilbur Minafer dies, it is discovered that he has made some bad investments that has left the Amberson clan bankrupt. Meanwhile, his widow Isabel Amberson begins to see her old flame Eugene whom she had stood up years before. Eugene is in the process of developing a new contraption called an "automobile". Eugene is prospering while the Ambersons are going bankrupt. Also, as one of the Ambersons points out, if automobiles become common and roads are built around their property, then the houses will lose their value. This leads to a wise speech that Eugene gives in response to a rude comment that George makes about Eugene's profession.

Indeed, it's not only financially that the Ambersons have trouble adjusting to. George Amberson Minafer, the son of Isabel, has grown from a spoiled young child to a spoiled young adult. He is the scallion of the Amberson clan and the Isabel's pet son. He is the person that the neighbors keep predicting will one day get "his comeuppance". George does not approve of his mother's relationship with Eugene and is determined to pressure her into breaking things off with him.

"The Magnificent Ambersons" is an affectionate look at a bigone era and a dark look into the changes that the automobile brought to some families at the dawn of the twentieth century. It was adapted from a novel by Booth Tarkington and directed with care and affection by Orson Welles. Welles had previously done a radio play adaptation of the Ambersons with himself in the role of George. As in that play, Welles narrates throughout the film, even signing off at the end. The black and white cinematography is gorgeous, indeed some of the shots bring to mind some of the pictures I've seen of nineteenth century houses. The music score by an uncredited Bernard Herman adds just the right touch.

However it's impossible to watch this film without thinking about the effect it had on Orson Welles. Which brings me to the second part of the story. George Orson Welles was a child prodege who, as he put it, had "genius" whispered into his ear from the time he was born. Starting in the thirties, sixteen-year-old Welles bluffed his way on stage into a Shakespearian production carving out a career as an actor. He also formed the "Mercury Theatre" which produced some highly original stage and radio plays. His radio production of "War of the Worlds" scared people across the country into believing that Martians had invaded Earth. On top of all that, Welles successfully broke into films making "Citizen Kane" for RKO, arguably the greatest film of all time. And this was all before he was twenty-six!

By this point, many of Welles' detractors were just waiting for Welles to get his "comeuppance". They wouldn't have to wait long. While Welles was away shooting a documentary in South America, RKO cut 45 minutes from the Ambersons and added three minutes after the film tested badly at a preview screening composed of rambunctious teenagers. RKO then put a stop to Welles' documentary and released the Ambersons with few previews where it flopped badly. While it's a testament to Welles' talents that a film that was so obviously butchered can still get a five star rating, the lost footage is still one of the ultimate Hollywood tragedies.

As for Welles, he suddenly found himself with an undeserved reputation as an unreliable director and a spendthrift. Welles' career never fully recovered, and although he would manage to cough up enough money to continue his film career, he would never again have the artistic and financial freedom that he had once enjoyed.

Like George Amberson Minafer, George Orson Welles finally got his comeuppance. He got it three times over and brimming.

Orson Welles's second movie after Citizen Kane, and in many ways, especially technically, just as great. George Amberson-Minifer (played by Tim Holt) is the spoiled, mother-fixated young man who, out of selfishness and false pretentions, brings misery down upon his family's head. Because of him his widowed mother refuses the hand of Joseph Cotton, who has loved her for many years. Agnes Moorehead plays the hysterically jealous Aunt Polly. What mars the picture, however, and prevents it from being fully realized, are the last 5 minutes: the studio wanted a syrupy, happy ending; Welles refused and walked out. The studio got its way, and it's a terrible mistake--it's dopey and shallow and the picture ends by putting a phony, sour taste in one's mouth.

The film is bursting, though, with brilliant technique, things that only Welles was willing to attempt at the time: long single takes, quick close-up camera shots, panning on a single face during a conversation while the other voice is just off camera, interspersed narration by Welles (off camera) with characters on camera, etc. This is all very original and done with the sure hands of a master. Despite that lousy ending, the picture still rates 5 stars.

The Official Story has it that Orson Welles saw, in Tarkington's novel, his own story. The 'completed' film, such as it was, and the mess that led up to it, really IS Welles' own story - though not in any way he could've foreseen, or relished the irony of afterwards. The simplified version of events has philistine Hollywood & RKO cutting the genius Welles' legs out from under him on the AMBERSONS film, while he was off in Brazil shooting IT'S ALL TRUE. The actual chain of events is a lot more complicated than that, and has as much to do with the star-crossed history of RKO as with the movie colony's dislike of Orson Welles, enfant terrible. Put bluntly, the saga of Welles-in-Hollywood could not have ended any other way, given that his deal was with RKO - the most ineptly run studio in Hollywood, beset with warring factions and Borgia-like intrigues among its braintrust. For Pete's sake, at one point the head of production was JOE BREEN! The miracle is that Orson Welles managed to finish one picture on his own terms, and parts of two others. All that said, I hope anyone who hasn't yet seen AMBERSONS will make plans to do so. The first 70 minutes or so IS Welles' picture, and as beautifully thought-out and detailed a film as he ever made. There's a burnished glow to the production that heightens the viewer's emotional connection to the events onscreen - the script, performances, photography and art direction are flawless. Joseph Cotten, Agnes Moorehead and Tim Holt were never better than they are here. Those last 20 minutes, unfortunately, are hackwork - a porridge of flat and flavorless new scenes spliced into mutilated existing Welles-shot footage, julienne-sliced at the studio's behest by then-film editor Robert Wise (who remained on Welles' s**t-list for the rest of his life because of it). Enough greatness remains - even in this compromised botch - to captivate and carry an audience back to turn-of-the-century Indianapolis. But you should feel a slight sting at every mention in the narration of George Minafer's long-awaited 'comeuppance', since it was Welles himself who took the full brunt of that comeuppance.

This is Welles's other great film. Even in the truncated version, it's worth a look - and wow, it looks beautiful. What an eye. You can actually see the very moment towards the end when the stupid studio ending begins, for without Welles at the helm it suddenly looks ordinary, not dazzling. But the majority of the film is a must-see.

This is a five star film if there ever was one. It still amazes me that there is no Region 1 release of it. Memo to Criterion: this wonderful film, as well as "A Tree Grows in Brooklyn", is crying out for the first-class DVD you'd provide. How about it?

While my personal favorite Welles film is "Touch of Evil" (when do we get the new version on DVD?) I can definitely say that "The Magnificent Ambersons" had the potential to be his greatest work. Even after being trimmed by a third of its running time, however, it remains a marvelous spectacle, even if it is the worst example of studio interference. While Welles must be held somewhat accountable (for thinking his film would be safe after the fight over "Citizen Kane"), the actions taken by RKO Studios regarding "Ambersons" must be considered the most atrocious in film history. The missing footage is almost certainly gone forever (an unearthed print of said footage would be the holy grail of lost film), but there are numerous books mentioned by previous reviewers available for study, and hopefully one day Criterion will update their laserdisc edition to DVD. It includes the film's complete shooting script and storyboards, a film historian commentary, and Welles' Mercury Theater radio production of "Ambersons". This edition is probably the closest we'll ever get to seeing what "The Magnificent Ambersons" might have been.