As far as I know, this is the only surviving remnant, at least on paper, of a lecture I gave at what may have been the first international and academic conference devoted to Orson Welles, held at New York University in May 1988. The footnotes haven’t survived. — J.R.
Note: The following is a revised version of a paper which was initially structured around four lengthy excerpts from the Huckleberry Finn radio show presented on The Campbell Playhouse. In order to make this adaptation, I have eliminated all of my remarks about music and sound effects and given more emphasis to allusion and description rather than citation. Interested readers are urged to consult the radio show, available on Mark 56 Records (no. 634), P.O. Box One, Anaheim, CA 92805. [April 2015: This can now be accessed online and for free here.]
Huckleberry Finn was broadcast on The Campbell Playhouse on March 17, 1940, during the period when Orson Welles was commuting every week between Hollywood and New York. Herman Mankiewicz was working on the first draft of the Citizen Kane script at the time. Three and a half months had passed since the final version of the film script of Heart of Darkness had been completed, and two months since the final script of The Smiler with the Knife.… Read more »
Chicago International Film Festival coverage, from the Chicago Reader (October 10, 2003). — J.R.
Among the films screened at the Toronto film festival last month that will turn up here eventually was Jim Jarmusch’s Coffee & Cigarettes, which taught me something about the complex ethics of celebrity — including the resentment fame can foster in noncelebrities and the defensiveness this resentment can provoke in turn. It also showed me how a cycle of comic black-and-white shorts can become a thematically and formally coherent feature. Other festival films were equally edifying, in their own ways. Ann Marie Fleming’s The Magical Life of Long Tack Sam – a playful, speculative documentary about Fleming’s once-famous great-grandfather, a Chinese stage magician who toured around the world — tells the story of his life by telling the history of the 20th century.
In The Saddest Music in the World Guy Maddin applies his hallucinatory, pretalkie visual style to a characteristically deranged script, which has hilarious things to say about how the colonialist chutzpah of big business in the U.S. looks to a cowering Canadian artist. Errol Morris’s documentary about Robert McNamara, The Fog of War, suggests, among other things, that in terms of power relations Morris is ultimately as subservient to McNamara as McNamara once was to Lyndon Johnson.… Read more »