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Orson Welles: A Biography

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There are many biographies of Orson Welles but only one was written with his cooperation. Welles never wrote his autobiography past his childhood, so along with This Is Orson Welles, this is all we have to judge his life from, using his words. Despite the book's many flaws, most glaringly without details about many of Welles's most important films and with only bar and the fact that Leaming does seem to be very obsequious toward her subject, it still captures much of his personal life, especially with Rita Hayward. Overall, the book is intoxicating and a very compelling read considering the many other biographies about Welles, most of which are full of hyperbole and outright lies about the man, his life and his work.

To get the best idea of Welles, read this book along with This Is Orson Welles, to get an idea about Welles's ideas about his movie and stage careers, Citizen Welles which is a fair overview of his life without hyperbole and Whatever Happened to Orson Welles, which focuses on Welles's career from the 1960s to his death. All of which add up to get a real picture of this man who created some of the greatest films of the 20th century and wanted to be a mystery above all other things.

June 10, 2002

The first problem with Barbara Leaming's biography
of Orson Welles is that it principally relies on
the absolute worst source imaginable: Orson Welles
himself. Anyone who knows the details of Welles's
life, career and character even a little knows that
the man was a liar. Not a malicious one, to be
sure--his was more of a child's capacity for
prevarication, born out of equal parts insecurity
and need for attention--but a liar nonetheless.

The second problem is that while Leaming is a
serviceable writer, she is not particularly worldly.
She's certainly not objective. She seems to belong
to that cosmetically clever but ultimately narrow
breed of communicators: the gossip monger. She
loves anecdotes, and swallows Orson's whole.

All the requisite facts are in this book, but other
Welles biographies have served the man and his art
better. The single greatest irony about this book
is how smarmy, superficial and childish its subject
comes off in this, the work of his most flattering
biographer.

It's too easy to spot Welles toying with Leaming,
and he doesn't come off very charming or impressive
by extension. He sees her coming from too far off
and feeds her lots of junk, too much of which she
printed.

On the whole an entertaining read but Leaming's gossip-column style and unabashed idolatry grate before long. Leaming saves her best prose not for Welles' legendary charm or artistic genius, but for his various appendages. "The only way to make the plane was to hitchhike," Leaming writes, "but when Orson extended the long tapered thumb of his extraordinarily beautiful hand, the only vehicle to stop was a garbage truck, into which Welles and company promptly crowded." Such flourishes, as well as the index, which is surprisingly clever--under Welles, (George) Orson there is an entry entitled "false noses used by 350, 353, 401, 424" are the gravy on this meat loaf of a book. Eat up!

Orson Welles was a genius of a film director, actor, producer, writer, and anything else he wanted to do but it didn't mean that he wasn't difficult. On the contrary, his genius may have allowed him to be a difficult man in real life. Even though he left an enormous legacy in his films, he was the master and is still regarded by directing one of the most highly regarded films in cinema history, Citizen Kane, loosely based on Randolph William Hearst and his life. Barbara Leaming's biography is more towards praising him while he was still alive rather than berating his behavior at times. This biography might be the kindest of Orson Welles around. While there are other books about Welles, this book is well worthy of reading anyway. Orson Welles was a remarkable man whose legacy can never really be outdone.

I have read several books about Orson Welles, including biographies, critical reviews and essays. What sets this volume apart is the biographer had complete access to Welles and the cooperation of his many associates.

While the biography is thorough, some readers may complain that it is not entirely free of meandering. Of course, others may argue that the digressions on the part of Welles may be the best parts. Too many people recall Welles as the overweight commerial pitchman for Paul Masson wines and as a late night television guest. I was surprised to learn, therefore, that the first book that Welles (as a high school student) authored was a popular instructional manual for coaches on successful basketball techniques! Leaming reminds us that in his prime, Welles was a handsome and much sought after celebrity who managed to conduct romances with many of Hollywood's top female stars. Thrice married, Welles' most notable bride was Rita Hayworth. He also struggled against considerable odds to produce a dozen motion pictures inside and outside of the studio system while begging for the funds to complete his projects.

Welles was a prolific writer who continually revised his scripts (much to his producers' dismay), punched out a syndicated newspaper column and produced a novel. Contrary to critic Pauline Kael's influential essay, Welles did have a hand in writing the screenplay of "Citizen Kane."

Great fun.

Barbara Lemmings' biography on Orson Welles is one of the most gripping accounts of the late, famous
radio, tv and screen personality. It delves deeply into his youth and life before he shocked the world
with Citizen Kane. The most fascinating aspect of this book is that it was written with the assistance of
Welles, therefore it is almost an autobiography with areas and events fleshed out by Welles' contemporaries,
business associates and friends. Hearing Welles comment on events in his life puts a different spin on the
legend and no doubt makes the reader rethink what ever opinions s/he had on Welles. One possible down side for film
buffs is that production information on Welles' films is scantly touched on, but considering this book is about
his life as whole, not just the brillinat films he intermitantly made, one shouldn't be too disappointed. One
excellent point of the book is the production detail in which Welles' final film, The Other Side of the Wind, a possible masterpiece
was put together, then unceremoniously taken away from him and lost (which is the story of his entire film directing career) to the world. After finishing the text, one will
be left with a sense of wonder, sadness and disappointment in regards to Welles' life which turns out to be tragic in nature

I have always been a fan of Orson Welles on radio and television. Having collected a ton of radio broadcasts on CD and audio cassette and having watched most of his movies, I appreciate the genius of his work. I picked up a copy of this book recently and am amazed at the amount of research put into it. An aspect of Welles rarely discussed is his magic career. At the Mid-Atlantic Nostalgia Convention this September in Aberdeen, Maryland, I plan to attend the presentation about Orson Welles and his magic career so I can watch rare footage and films with Welles, and get an even deeper insight to his trickery. Book comes recommended.

Sifting through hundreds of hours of personal interviews with the enigmatic Orson Welles in the years before his death, Barbara Leaming presents an uneven and obsequious biography. She is entirely dependent on her interviews of Welles for the bulk of her work and seems to have spent little time in developing differing views on Welles. Perhaps Welles, who always wanted to dominate his surroundings, found Miss Leaming compliant and ready to write the biography Welles desired.

The author succeeds best in painting a picture of the rise of Orson Welles. His mother, Beatrice, not only introduced young Welles to Chicago's artsy society, but to her friend Da Da Bernstein, who considered Welles to be a prodigy at an early age. Bernstein was Welles' first mentor. As a teen, Welles was sent to the artsy Todd School and acquired another mentor, the drama teacher Roger "Skipper" Hill. Soon, Welles' career on stage rocketed and he landed on Broadway at 18 acting and producing. He was a wonder. On top of this, his powerful, distinctive voice landed him on radio, where he made his money, leading to the radio caper of "The War of the Worlds". Hollywood called and "Citizen Kane" and "The Magnificent Ambersons" soon followed.

But Welles' career stumbled afterwards. Very few of his movies made money. His directorships of movies were erratic and his relationships with the studio bosses were desultory. Thus, Welles became a vagabond director and actor and often had to use his acting salary to supplement production costs of HIS movies. Always scambling for production money, what he did produce after World War Two were generally fly-by-night, patchwork movies, most of which were unmarketable. His career had peaked by his mid-twenties. By the end of his life, he was reduced to audio voiceovers and a three year stint endorsing Paul Masson wines of which he was fired for his arrogant meddling in the production of the spots. Welles always had to be in charge and bridled when under the authority of others.

Miss Leaming leaves out details of Welles' career that he seems not to have wanted to discuss with her. For instance, Welles' acting in "Jane Eyre", "The Third Man" and "The Long, Hot Summer" receive less space in this book than Welles' poodle, KiKi. To a very annoying degree, the author interjects herself often in this book and in great depth. This biography is a case of a self-absorbed woman writing about a man who is even more self-absorbed.