Screen Junkies » Peter Bogdanovich http://www.screenjunkies.com Movie Reviews & TV Show Reviews Fri, 29 Aug 2014 17:39:03 +0000 en hourly 1 http://wordpress.org/?v=3.3.1 Exhale, Cinephiles: Orson Welles’ 40 Year-Old Film Might Be Released Soon http://www.screenjunkies.com/movies/movie-news/exhale-cinephiles-orson-welles-40-year-old-film-might-be-released-soon/ http://www.screenjunkies.com/movies/movie-news/exhale-cinephiles-orson-welles-40-year-old-film-might-be-released-soon/#comments Mon, 24 Jan 2011 20:33:01 +0000 Penn Collins http://www.screenjunkies.com/?p=21816 With the possible completion and release of Orson Welles' The Other Side of the Wind 40 years after principal photography in 1972, one could say that Welles is the 2Pac of cinema.

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2Pac is not the only artist that can continue to produce thoughtful works from beyond the grave. With the possible completion and release of Orson WellesThe Other Side of the Wind 40 years after principal photography in 1972, one could say that Welles is the 2Pac of cinema. One shouldn’t say that, but one could. Since his death, the bickering over the rights to the unfinished work have left the project in limbo, but all signs now point to a resolution on the horizon.

According to the A.V. Club, both “Jacqueline Boushehri, widow of the brother-in-law to the Shah of Iran who supplied Welles with funds, and Welles’ longtime girlfriend Oja Kodar” have agreed to sell their stakes in the film which could facilitate its almost completion and exhibition. As for when that release may take place, it could be, beyond all comprehension, in the next few weeks, despite the fact that only 40 minutes of the film have been edited (by Welles himself). Peter Bogdanovich, who starred in The Other Side of the Wind, has expressed interest in finishing the film himself, as he claims to have both extensive, and probably dusty, notes from Welles as well as an intimate knowledge of the film from his time on set.

Of course, Welles enthusiasts have spoken up saying it should be shown uncut in raw form, which sounds selfish in that only Welles purists would derive any entertainment or satisfaction from such a cut. If we can’t trust Bogdanovich to put together a decent cut of the film, then the cinematic community might want to work on its trust issues. After all, the film is about “about a bastard director… full of himself, who catches people and creates and destroys them.” Any director in Hollywood should be able to stay true to that vision.

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