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It's All True

Da Silva, Francisca Moreira (Actor), Da Silva, Manuel 'Preto' Pereira (Actor), Krohn, Bill (Director), Rated:

Format: DVD

32 ratings

IMDb7.1/10.0

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November 30, 2004

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Editorial Reviews

Would 25-year-old Orson Welles (whose 1941 Citizen Kane staggered Hollywood) go to Brazil and make a film for the United States' anti-Nazi "Good Neighbor Policy"? Welles eagerly agreed, masterminding a complex film that featured three separate stories, each vividly depicting the charm, drama and politics of South American culture. During the course of filming, Welles encountered hazardous locations and an ever-changing cast of studio executives at RKO. After months of arduous shooting, the studio suddenly pulled the plug and shelved the project. Welles never recovered from this and the true story of what happened to him in Brazil was never told.

Product details

Aspect Ratio ‏ : ‎ 1.33:1
Is Discontinued By Manufacturer ‏ : ‎ No
MPAA rating ‏ : ‎ s_medG G (General Audience)
Product Dimensions ‏ : ‎ 7.5 x 5.5 x 0.5 inches; 4 Ounces
Director ‏ : ‎ Krohn, Bill, Meisel, Myron, Welles, Orson, Wilson, Richard
Media Format ‏ : ‎ Color, Dolby, Full Screen, NTSC, Black & White
Run time ‏ : ‎ 1 hour and 27 minutes
Release date ‏ : ‎ November 30, 2004
Actors ‏ : ‎ Da Silva, Francisca Moreira, Da Silva, Manuel 'Preto' Pereira, De Souza, Jeronimo André, Ferrer, Miguel, Lima, Raimundo 'Tata' Correia
Dubbed: ‏ : ‎ English
Subtitles: ‏ : ‎ English
Language ‏ : ‎ English (Dolby Digital 2.0 Stereo)
Studio ‏ : ‎ Paramount
ASIN ‏ : ‎ B00062IDGU
Number of discs ‏ : ‎ 1

Best Sellers Rank: #56,236 in Movies & TV (See Top 100 in Movies & TV)
- #1,984 in Documentary (Movies & TV)

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32 ratings

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Top reviews from the United States

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John Sullivan

Be patient with this one.

Reviewed in the United States on May 10, 2016

Verified Purchase

This is a bit choppy, combining documentary about the film with content of the film itself. Orson Welles' genius is on display in the long, "four men on a Raft" portion, which is essentially a post-sound silent-era production, for reasons that Welles explains before we get to see it. We also get to learn Welles view on why he was for so long not welcome as a Hollywood director.

6 people found this helpful

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Leealike

Well.....

Reviewed in the United States on August 21, 2001

Verified Purchase

Orson Welles is, was and will always be one of the greatest of all filmakers. You can't really argue with that.
The chance to see lost footage from any of his unfinished projects is always welcome, but this is something of a missed opportunity I'm afraid.
Richly illustrated with interviews and unique footage, the effort and research cannot be faulted, but frequently beautiful images flick by without any explanation whilst pointless facts are dealt in detail.
The cardinal sin here are the "recuts" of the virtually complete sections of It's All True. The "new" musical scores are obstrusive and syrupy - very "hollywood". They sit uncomfortably with the footage, and are NOT Welles style.
It's not the actual scores but the orchestration which seems so out of place. Instead of drawing you into the sequences it dilutes the impact.
It's a real shame, as you can see the influence such sequences had on later Welles pictures, "The Lady From Shanghai" - one of my favourite films - for example. After such a well researched build up it's real let down to see the work damaged in this way. Why the filmakers couldn't have used original recordings from the time film was made - and by the artists featured - is a mystery.
It's still well worth seeing - but, as I've already said, is a missed opportunity.

29 people found this helpful

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RJay

"It's All True" Best With Background

Reviewed in the United States on March 6, 2011

Verified Purchase

The centerpiece of this video is the long lost "Four Men On A Raft" footage. I have known the now nearly vanished log jangadas of Northeast Brazil for over forty years. They were a background for many a photo and my family and I have taken short trips out to reefs on them. Those originals have been replaced almost entirely by tourist versions built of plywood over foam. On a late 2000s trip not one of the log type was to be found along several hundred miles of coast. Thus I could appreciate the film without explanation. Those without that background may be a bit puzzled due to some issues I found with the lead in to the main event. While set in a staged retell, including a "romance" to illustrate the cause for the amazing sixty-one day trip, this short film is "all true" to the lives of jangadeiros and the protest voyage. I remember faces and lives very much as portrayed as late as the early 1970s. That said, the "foreword" to that film is muddled for those unfamiliar with the country, time and culture, particularly of the Northeast, by a very mixed bag preceding the restored film that is largely silent and has no narration at all. The leading half mixes Welles' career issues, some of the politics involved in the Brazil trip, a short film set in Mexico and interviews leading up to the jangada film that could have been more organized to introduce the viewer to the main feature. I would advise careful attention to some of that earlier part, particularly brief comments on the poverty and exploitation of those risking their lives fishing from those six log sailing rafts far out to sea. As a note, jangadas have been seen by ships far out of sight of land and along with the hard, often fatal life of the vaqueiro (Northeastern "cowboy"), the hard often fatal life of the jangadeiro is the other lifestyle celebrated in song an legend of the Northeast. As for the film's music the samba of the time I thought poorly selected and the music of the silent feature was a bit bizarre. It would have been far better to feature some of the actual music of the Northeast, almost unknown to most likely viewers, with some introduction to that music. A few of the not quite accurate "facts" early on are simply vintage U.S. misunderstandings of the country and culture, particularly of the poor population. The most notable is Welles' description of a "Voodoo" "witch doctor" right at the start. The Afro-Brazilian religions are not "voodoo" in the sense North Americans and Europeans will assume. Candomblé is the proper reference, particularly for the Northeast, with a related Umbanda being most likely for the Rio incident Welles describes. To conclude, this film was not only lost--the fishing culture it depicts is largely lost now and it is ironic that the hopes of the fishermen portrayed that the film might help their cause was also lost, perhaps even "suppressed" by the studio and political interests opposed to rights for those living in the poverty cycle of "sharecropper" whether on land of sea.

4 people found this helpful

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Stephania Pearce

want more

Reviewed in the United States on January 24, 2016

Verified Purchase

I just started looking at the old movies and documentaries. This was so interesting in story and photography and how it led to Orson's being shut out because of politics. I made me want to know more about the man.

One person found this helpful

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Steve in Manhattan

... shot - presumably it is not even cut together like he wanted

Reviewed in the United States on August 22, 2015

Verified Purchase

It is ashtonishing what Welles could do with a simple one shot - presumably it is not even cut together like he wanted, yet the black and white footage is amazing. Sad that they took this and other things away from him.

One person found this helpful

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Barbara

Lots of (necessary) subtitles

Reviewed in the United States on September 1, 2015

Verified Purchase

Historically fascinating, but painfully long (especially with SO many interviewees requiring subtitles). Could have used a "dubbing" with that problem.

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