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Rosebud: The Story of Orson Welles Paperback – September 30, 1997

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Editorial Reviews Review

During Orson Welles' tumultuous honeymoon in Hollywood 1939-1942, Thomson writes, he achieved "glory, but ruined himself; the one was not possible without the other." In this sweeping tribute to the man said to have "more genius than talent," Thomson chronicles the events that transformed Welles from Hollywood's bad boy into one of the most influential and enduring filmmakers. The accounts of Welles' intellect only serve to contrast with the self-destructiveness of his post-Kane years, and Thomson's analysis shows that Citizen Kane loomed over the actor-film maker, not just as an achievement he could never equal, "but as an underground presaging of his own destiny." --This text refers to an out of print or unavailable edition of this title.

From Publishers Weekly

Welles is certainly enjoying a boom; soon after the first volume of Simon Callow's Orson Welles (Forecasts, Nov. 20, 1995) comes this study by the author of The Life of David O. Selznick and A Biographical Dictionary of Film. Thomson does not pretend to have done vast scholarship or delved extensively into original sources. As a boy in England, he says, he fell under Welles's spell, and his book is a sort of vast, almost novelistic examination of the showman's rich and ultimately deeply frustrating life; it is an attempt to come to terms with the fascination Welles continues to exert, although it is generally agreed that his last 40 years were an anticlimax. Determined to be compulsively readable, Thomson indulges in highly tendentious asides, interrupts himself with questions he imagines his publisher asking and works in chunks of scenes from Welles's movies and snippets from the interviews the star tirelessly gave all his life. The result is a vivid patchwork, a swift, impressionistic take on Welles that is also an often moving tribute to his oblique mix of genius and charlatanism. Not by any means the only book on Welles to read, but a stimulating and diverting one, with some unusual judgments: that his Macbeth, for instance, is better than his Othello, and that the late F for Fake is a neglected masterwork. Illustrated. 50,000 first printing.
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

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Product Details

  • Paperback: 480 pages
  • Publisher: Vintage (September 30, 1997)
  • Language: English
  • ISBN-10: 0679772839
  • ISBN-13: 978-0679772835
  • Product Dimensions: 5.2 x 1.2 x 8 inches
  • Shipping Weight: 15.2 ounces (View shipping rates and policies)
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (29 customer reviews)
  • Amazon Best Sellers Rank: #891,038 in Books (See Top 100 in Books)

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19 of 23 people found the following review helpful By Amazon Customer on January 7, 2000
Format: Paperback
When I told a co-worker that I was reading a book on Welles, she said, "Wow, that must be interesting...he was such a mysterious man." And this book definitely is interesting. Instead of reverting to the dry, analytical narrative that most biographies use, the author uses an effervescent, almost poetical descriptive voice, as well as employing an imaginary dialogue with an inquiring editor. The dialogue technique is used sometimes to escape the pitfalls of libel suits (as someone to "suggest" that so-and-so may have homosexual, etc.) as well as to explore multidimensional interpretations of film.
This technique could be distracting, but it isn't. Instead it's compelling, and it gives voice to the reader in an interesting way.
Now, on to the content...this book was a fine portrait of Orson, detailing his early success, blazing masterpiece, debilitating failure, and strange downward slide. It examines Welles with both adoration and horror -- how could someone with so much talent burn so brightly and then burn out?
Scenic analysis of some films are an added bonus, and prove almost as illuminating as biographical details. These film crit moments aren't too heavy for the amateur, but they also won't bore a seasoned scholar. (ALthough if you haven;t seen "Citizen Kane" before you pick this up, you really should go rent it first...and even if you know it well, as I do, you might want to still rent it because the book does explore it with regards to Welles psyche, and it is very helpful to have scenes fresh in your mind.)
This talks about Welles's personal life, but refrains from idle gossip. It emphasizes the *human* struggle in Welles and illuminates the myth without diminishing the pleasant mystery.
Highly recommended for theater & film buffs as well as people with a good taste for a tragic story.
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25 of 32 people found the following review helpful By Babeur on January 28, 2005
Format: Paperback
David Thomson thinks he's some kind of superior being and criticizes in a pompous and condescendent manner everything Welles ever did. He's one of those people who think that Welles never achieved anything after Kane. He wonders if he was even really responsible for Kane? He states that Welles did not write any of the script (false), that Greg Toland was director of photography while Robert Wise was responsible for the editing. SO what did Welles do? He directed! Apparently, that's not enough to make Kane his movie, his masterpiece, among others. Well if movies were only based on photography, scripting and editing, then why would directors be needed?

Thomson insults Welles in every paragraph; he hammers him over and over, relentlessly. He focuses on the less successful aspects of his life and exaggerates them. He ridicules him, makes fun of his weight, says he's egotistical, a liar, a misogynist, an unfaithful friend, a machiavellic mischievous man who uses people, cheats on his wives, dates married women, eats like a pig and stuffs his face with anything he could find (he talks a lot about that), a pretend genius or would be genius who thinks he's the victim of evil Hollywood moguls. What other bad things could be said about Welles? Basically, any insult or evil thought you would ever have towards your worse enemy would not match up to the way Thomson writes about Welles.

Welles is not the only target of the author's wrath towards famous people. Any dead actor that was a friend or acquaintance of welles is also treated unkindly, as for the ones who are still alive, Thomson refrains himself from making a judgement. What a coward! Dead celebrities are such easy targets to criticism aren't they?
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4 of 4 people found the following review helpful By kubwell627 on May 13, 2014
Format: Paperback
The author obviously considers himself a fan of Welles, although he spends the entire book trying to take all but the slimmest credit away from Welles. War of the Worlds, Welles tries to steal credit, when he deserves no more than the other Mercury staff. Which is funny because those involved have consistently given Welles credit for the idea and not just this script but ALL of his radio scripts. Citizen Kane, the masterwork of Herman Mankewitz, and less give Gregg Toland a hunk of the credit too. Welles, really just showed up, and was rude to George Schaffer. Not at all acurite, the script controversy is easily solvable for anyone who wants to do the research. Mank wrote a fantastic screenplay, and Welles did what he does, he made it one of a kind. Now as for Toland, his credit is richly deserved, as Welles gave it to him, putting their titles on the same card( a rare move and 1 meant as a thank you to Toland) the author then accuses Welles of trying to "steal" credit for the script, now this is really interesting. Not only did Welles have the Right to take full credit, but he DID write the screenplay. Mank wrote over 200 scripts most he never got credit for, which was standard practice for Hollywood, & not only did Welles give him credit, he gave him top billing! Perhaps worst of all, Thomson, blames Welles completely for the "It's All True" fiasco, which he at most deserves, a minute amount of the blame. He then goes on to suggest that Welles planned for Ambersons to be hacked & burned so that it could be like a fabled lost city, ever sought after and Glorious. What an A-Hole, I mean just outrageous D-Bag like mentality!! This guy is so far out there and with his head firmly up his own A**, that this book is much more about Thomson believe in his writing ability(which is Fine) & his ridiculous theories which make him seem like a pretentious Wind bag. Skip this, and Read "This Is Orson Welles" by Welles and Bogdonavich. This book Stinks
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