Orson Welles: Hello Americans [Import] [Hardcover]

Simon Callow (Author)

Book Description

Publication Date: June 27, 2006

The second volume of Callow’s definitive biography of Orson Welles examines the years from Citizen Kane to Macbeth in which Welles’s Hollywood film career came apart. Callow’s scrupulous analysis reveals the immense and self-defeating complexities of Welles’s temperament.

Editorial Reviews

From Publishers Weekly

Starred Review. This scintillating follow-up to Callow's acclaimed The Road to Xanadu traces Welles's career from the triumphant premiere of Citizen Kane to his self-imposed exile to Europe in 1947. It was a pivotal period in the director's life, as his luster as Hollywood's boy wonder dimmed through a series of flawed—if intermittently brilliant—films, from The Magnificent Ambersons to MacBeth, that were snatched from his control and vandalized by frustrated studio executives. Eschewing the cliché of misunderstood genius persecuted by Tinseltown philistines, Callow assigns some of the blame to Welles's perpetual distraction with a plethora of projects (including a misbegotten scheme to become a radio comedian), the unfocused grandiosity of his artistic impulses and his directorial "strategy of simply shooting until the nature of the film finally declared itself." As he explores the tension between the director's compulsion to make art and Hollywood's need to run a business, the author interweaves fluent critiques of Welles's films and creative processes that are nuanced and perceptive. Callow's is a superbly written account of a magnetic personality and towering talent plagued by internal weaknesses and external friction, one that manages to shape the "Orsonic tornado" into an engrossing tragicomedy. (Aug. 21)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

Review

“It is not only the best biography of Welles that we can possibly have, it is also one of the best biographies in any field I’ve read in years.”
–Roger Lewis, Sunday Express

“A vivid, sympathetic account . . . provides a definitive explanation of Welles’s ultimate, lingering downfall.”
–Financial Times


From the Trade Paperback edition.

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Product Details

• Hardcover: 507 pages
• Publisher: Jonathan Cape (June 27, 2006)
• Language: English
• ISBN-10: 0224038532
• ISBN-13: 978-0224038539
• Product Dimensions: 9.3 x 6.2 x 1.7 inches
• Shipping Weight: 1.9 pounds
• Average Customer Review: 4.4 out of 5 stars  See all reviews (9 customer reviews)
• Amazon Best Sellers Rank: #5,009,544 in Books (See Top 100 in Books)

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15 of 15 people found the following review helpful:

5.0 out of 5 stars A BRILLIANT BIO BY A BRILLIANT AUTHOR, August 28, 2006

By 

Alan W. Petrucelli (THE ENTERTAINMENT REPORT (ALAN W. PETRUCELLI)) - See all my reviews
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This review is from: Orson Welles: Volume 2: Hello Americans (Hardcover)

Cinema mavens and simple movie fans can rejoice: the second volume of Simon Callow's scrupulously researched biography of Orson Welles has been published. The first volume, The Road to Xanadu, took Welles from his birth through the release of his first film, Citizen Kane (1941). This volume takes up immediately after Kane, and traces the arc of Welles' career until 1947, when he went into self-imposed exile in Europe for more than 20 years. Not only does the volume cover films--The Magnificent Ambersons (sliced to a shadow of Welles' intention); the Brazilian epic, It's All True, aborted and never really completed; the spectacular The Lady from Shanghai, again destroyed by the studio with inept editing and awful soundtrack and the half-baked, yet fascinating Macbeth--but it also covers Welles' career as a political pundit, a fuzzy leftist, just before the horrors of the House Un-American Activities Committee . . . an event that contributed to his flight from the United States.

Callow is really magnificent biographer. His work on Charles Laughton (Charles Laughton: A Difficult Actor) really set the benchmark for both scholarship and humanity in dealing with a public figure in the arts. That Callow is primarily known as an actor and director proves renaissance men really do exist. (For those of you fuzzy on his looks, he was the hirsute gay man in Four Weddings and a Funeral.) This massive, 400+ page volume on the middle period of Welles' life is day-to-day detailed beyond one's wildest wish, yet fully captures both Welles' humanity and his follies. Callow is not quick to judge any of his subject's foibles, yet doesn't shrink from reporting Welles' sometimes callous and outre' work habits. Apparently, Welles suffered from a chronic inability to finish something, perhaps less it be judged. As a result, films were edited after he left a project to work on another, then never edited as well as the only film he ever really completed, Citizen Kane.

That Welles may have been an American tragedy--destroyed by the potential engendered in his youth, and never able to come up to the standard he himself had set--is left unspoken by Callow, but Welles' genius is keenly illustrated. Simon Callow is a man who clearly knows the

entertainment business better than most, and this biography is illuminating, touching, and, ultimately, heartbreaking.

19 of 20 people found the following review helpful:

4.0 out of 5 stars Orson Welles storyteller 4 1/2 stars, August 18, 2006

By 

WTDK "If at first the idea is not absurd, the... (My Little Blue Window, USA) - See all my reviews
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This review is from: Orson Welles: Volume 2: Hello Americans (Hardcover)

Simon Callows' second volume examining the life of Orson Welles looks at Welles' career and personal life after the release of "Citizen Kane" as he prepared and shot his second film The Magnificient Ambersons", toured South America as part of a goodwill gesture, made a film in South America that wouldn't be completed during his life time ("It's All True"), romanced Rita Hawyworth and discovered that critical darlings could also be commercial pariahs. "Kane" created quite a bit of scandal with William Randolph Hearst's newspapers attacking the film, refusing to carry ads and Hearst even had a consortium of Hollywood heavyweights approach RKO with an offer to buy the film outright so that they could destroy the negative.

Welles wasn't trying to recreate the success of "Citizen Kane" in Callow's view. Welles was trying new and different ways to tell stories with every film, play and radio show he did. He desperately wanted to experiment and his restless spirit did just that. He would reach that rarified air of critical success again with "Touch of Evil" (at least in France) and a handful of other classic films. Callow discusses Welles' career with penetrating insight into both the man, all of his foibles and his strengths which he inexplicably would undermine.As Callow points out Welles lacked the talent to harness his own talent and focus it the way that lesser artists might do.

Welles approached each new subject with zest imbued each film with his restless creativity only to have studios ("The Magnificent Ambersons"), producers ("The Stranger")and even himself ("Macbeth") undermine his work. The second volume ends with "Macbeth" as Welles went overseas to act in Europe. Welles edited "Macbeth" while in Rome shooting another movie as a performer. Ultimately Republic had their version of the film (nearly 90 minutes) as did Welles (112 minutes)and the director himself seemed to lose interest in his baby. Lost in the wake of Olivier's spectacular "Hamlet" Welles' film received mixed reviews with some loving it(the French) while others found it lacking (the American and UK press).

If many of the films that Welles made in the wake of "Kane" didn't quite live up to its epic grandeur it had more to do with the fact that Welles had mastered that particular story so well. There were many parallels between Welles' life and that of Kane; he understood the story at the core of Kane all too well. He continued to have mixed successes from "Ambersons" to "The Trial" and all have their merit and featured inventive work. This second volume gives us Welles the whirlwind; Welles the world traveler truly without a home and paints a vivid Welles the human.

Callow brings to this volume his keen insight. The reader will have to have patience though as there are some areas that fascinate Callow more than they might some readers and as a result he spents a bit too much time focusing on certain years at the expense of others. Still, Callow is nothing if not complete in his examination of Welles professional, personal life and the sometimes uneasy mix between the two. I'd recommend Callow's book because like the first volume it's the most insightful and intelligent glimpse into Welles' life yet.

Callow brings his unique insight as an artist and actor to this book as with the first and it informs it with great insight and observations. My only complaint is that Callow covers a very brief period of time with the book (however complete)and that we have to wait for a third (and perhaps a fourth)book to completely cover this remarkable artists life. It will be worth it but it will also be quite a wait at this pace.

13 of 15 people found the following review helpful:

5.0 out of 5 stars The Beginning of the End...a Vivid Portrayal of Welles in the Throes of "Citizen Kane", September 2, 2006

By 

Ed Uyeshima (San Francisco, CA USA) - See all my reviews
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This review is from: Orson Welles: Volume 2: Hello Americans (Hardcover)

Calling Orson Welles a Falstaffian figure seems like an understatement when reading Simon Callow's second of what he envisions to be a trilogy of books he is authoring on the life of the wildly eccentric, painfully brilliant filmmaker. That Welles is a subject worthy of a trilogy is almost beside the point as his epic fall from grace after the artistic summit of "Citizen Kane" has been fodder for a number of biographers and film historians. Published almost a decade after his first book, the fascinating "The Road to Xanadu". Callow's treatment in his second book is significant is that he portrays the film auteur as the victim of neither insensitive Hollywood studio moguls nor Welles' own megalomania. Rather, in a balanced, professionally-oriented book, Callow shows both factors coming into play time and again throughout his subject's career. What is particularly enlightening about Callow's research is how he concludes it was Welles' political preoccupations that took his attention away from his creative energy.

The author paints an intriguing portrait of a young New Deal liberal strictly anti-Fascist and very pro-Roosevelt. In fact, his political causes were so engulfing that they it would make his film productions often interminable and obviously uneconomical. The book covers the period between 1941, the year "Citizen Kane" was released, and his self-imposed exile to Europe in 1947. In that relatively fruitful period, Welles produced five films, three stage shows and worked consistently in radio. He was also a prolific journalist, a much sought-after public speaker and an enthusiastic political activist constantly supporting Roosevelt's issues. The most interesting part of the book is that first year when the 26-year old Welles made the much-maligned "The Magnificent Ambersons"; produced and acted in the dark mystery, "Journey into Fear"; and traveled to Brazil to scout locations for two months before coming up with the story for his soon-to-be-aborted film, "It's All True". The key turning point occurred when his patron and protector, George Schaefer, was ousted as production chief of RKO and Welles' legendary Mercury Theatre started to fall apart.

Callow vividly describes how RKO cut "The Magnificent Ambersons" by over a third, eliminated Bernard Herrmann's music score and inserted a ludicrous happy ending. The result was a film no one liked no matter how brilliant individual sequences were, and unsurprisingly, it failed miserably at the box office. While the RKO studio executives had an excuse to minimize Welles after this fiasco, it remains that the filmmaker had a degree of accountability in letting these lapses occur while having moved on to his next film in Brazil. This pattern would repeat himself throughout the filmmaker's career with an almost necessary inevitability. Callow, however, falls short in accusing Welles of allowing his genius overwhelm him in such a destructive manner, and that seems appropriate given the textured portrait the author provides here. A fascinating read even if Callow carefully avoids much of Welles' colorful personal life.