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Drugie (cyfrowe) życie filmów Orsona Wellesa

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Kozubek M.

Kwartalnik Filmowy

2021

issue 113 Film i technologia

153-168

W świetle najnowszych badań archiwalnych historia życia i twórczości Orsona Wellesa nie jest już tak enigmatyczna i tajemnicza jak w poprzednich dekadach, jednak za sprawą nowych odkryć oraz kolejnych premier filmów odrestaurowanych i ukończonych po śmierci reżysera nadal pozostaje gorącym tematem dla jego biografów. Autorka śledzi wpływ procesu technologicznego na końcowy kształt przywróconych do życia dzieł Wellesa głównie na przykładzie Drugiej strony wiatru (The Other Side of the Wind, 2018) – ostatniego filmu reżysera oraz Too Much Johnson (1938) – odnalezionego w 2013 r. jego średniometrażowego debiutu. Wybór tych tytułów podyktowany jest z jednej strony poczuciem, że w obu przypadkach technika filmowa odegrała bardzo istotną rolę, a z drugiej przekonaniem, że oba te filmy nie zostały jeszcze wystarczająco dogłębnie opisane.

In the light of recent archival research, the story of Orson Welles’ life and work is no longer as enigmatic and mysterious as it was in previous decades. But with new discoveries and the subsequent release of films restored and completed after the director’s death, it remains a hot topic for his biographers. The author traces the influence of the technological process on the final shape of Welles’ restored works, mainly through the examples of The Other Side of the Wind (2018), the director’s last film, and Too Much Johnson (1938), his medium-length debut found in 2013. The choice of these titles is dictated on the one hand by the fact that in both cases technology played a very important role, and on the other hand, by the fact that both films have not yet been described in depth.

Ostatnia strona „Obywatela Kane’a”

100%

Kozubek M.

Prace Kulturoznawcze

2018

vol. 22

issue 3

13-26

History of cinema does not consist merely of masterpieces, but also of films that are unfinished, as well as scripts that were supposed to serve as the basis for films which ultimately never came into being or were transformed into completely different works completed by another filmmaker. Welles’ case is very interesting in this context as, on the one hand, he was a star of the “author’s policy”, a universally known celebrity, a legend of world cinema, who contributed significantly to its history, but on the other hand he was also an unaccomplished figure. Yet, his unfulfillment was different from what is often described, for instance, in autobiographical interpretations of Citizen Kane: “he had everything and lost everything”. We may rather say that his oeuvre forms a sinusoid that comprises both completed, artistically accomplished works and films that were rejected by viewers and critics, as well as more than a dozen very interesting unfinished projects. In this paper I’m analysing the case of Orson Welles’ last (un)finished movie — The Other Side of the Wind (2018).

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1 Kwartalnik Filmowy

1 Prace Kulturoznawcze

2 Kozubek M.

1 2021

1 2018

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Drugie (cyfrowe) życie filmów Orsona Wellesa

Ostatnia strona „Obywatela Kane’a”