The Moorish general Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his lieutenant Michael Cassio when in reality it is all part of the scheme of a bitter ensign named Iago.
It's All True is an unfinished Orson Welles feature film comprising three stories about Latin America. "My Friend Bonito" was supervised by Welles and directed by Norman Foster in Mexico in... See full summary »
The young, handsome, but somewhat wild Eugene Morgan wants to marry Isabel Amberson, daughter of a rich upper-class family, but she instead marries dull and steady Wilbur Minafer. Their only child, George, grows up a spoiled brat. Years later, Eugene comes back, now a mature widower and a successful automobile maker. After Wilbur dies, Eugene again asks Isabel to marry him, and she is receptive. But George resents the attentions paid to his mother, and he and his whacko aunt Fanny manage to sabotage the romance. A series of disasters befall the Ambersons and George, and he gets his come-uppance in the end. Written by
John Oswalt <firstname.lastname@example.org>
In his first directing assignment, Robert Wise shot a few additional scenes to patch up the film's continuity. Post-production head Jack Moss also filmed some additional footage. Gone from Orson Welles's original were any hints of George's Oedipal relationship with his mother, the scenes depicting the town's transformation from 19th century gentility to modern impersonality, and the family's attempts to save themselves financially. The ball sequence, which Welles had shot in one long crane shot covering the three floors of the Amberson mansion, was re-edited to remove a long chunk of dialogue, thus destroying the effect Welles had originally created. Re-shot scenes included George and Isabel discussing Eugene's letter and deciding to go to Europe, George's keeping Eugene from seeing Isabel on her deathbed, and the end of Fanny's breakdown. In the latter, everything after the long dolly shot was re-done by Moss to cut down on Fanny's hysterics as she sits with her back against the water heater. See more »
Towards end of long tracking shot with George and Lucy in horse-drawn carriage, portion of rear end of camera car and some sort of filmmaking equipment briefly enters left side of frame. See more »
The magnificence of the Ambersons began in 1873. Their splendor lasted throughout all the years that saw their midland town spread and darken into a city. In that town, in those days, all the women who wore silk or velvet knew all the other women who wore silk or velvet, and everybody knew everybody else's family horse and carriage. The only public conveyance was the streetcar. A lady could whistle to it from an upstairs window, and the car would halt at once and wait for her, ...
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All of the credits except the RKO logo, the film's title and the copyright notice are recited orally (by Orson Welles) at the end of the film, not written out onscreen. As Welles recites the names of the production crew, we see such items as a motion picture camera when he says "Director of Photography", a pair of hands turning knobs as he says the words "Sound Recording By", etc. See more »
With an excellent cast, interesting characters and setting, and a thought-provoking story, dramatic cinema does not get much better than "The Magnificent Ambersons". No one will ever know what it would have been like if Orson Welles' original version had been allowed to stand as it was, but what is left is still extremely good despite the missing portions.
The story of the leading residents in a turn-of-the-century town combines some interesting themes. The snobbishness of the Ambersons, and its effects on their lives and others' lives, is illustrated alongside the ways that increasing industrialization is changing everyone's lives. The period setting is also quite interesting in its own right, and very nicely done. The characters are all convincing and well-defined, and are matched nicely with fine performers who bring them to life convincingly. Welles regulars Joseph Cotten and Agnes Moorehead are especially good.
The only real disappointment in the movie is that, due to all the cuts made against Welles' wishes, there are times when it is obvious that a scene or information is missing, since characters at times refer to events that are not quite familiar to the audience. It is fortunate that the acting and writing are good enough to help us fill in the blanks to some degree, but it is really too bad that we can never see the whole picture.
As it stands, this is a fine film filled with good scenes and memorable characters, and a movie that will be much appreciated by fans of classic cinema.
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