![]() ![]() It seems that this cut was the same version that was previewed in Pomona to famously negative reviews (though Jonathan Rosenbaum has pointed out that while the majority of that audience's preview cards were negative, some people in the theater that night wrote that the movie was "an exceedingly good picture," "the best the cinema has yet offered," "a masterpiece," and "the best picture I have ever seen."). In March, RKO shipped Welles (now in Rio) a new 110-minute version of the film that incorporated all the changes he'd made with Wise a month earlier. And as it heaved and spread, it befouled itself and darkened its sky."). ![]() It was heaving up in the middle incredibly. They spent the day together watching a rough cut (without music or sound effects and missing some scenes) and recording Welles's beguiling voice-over narration ("George Amberson Minafer walked homeward slowly through what seemed to be the strange streets of a strange city. Wise met Welles in Miami on February 5, 1942, at the cartoon studio that the Fleischer Brothers had built a few years earlier to escape their union troubles in New York. At MUBI, Doug Dibbern has composed a magnificent meditations called " Cinephilia, the Science of Hope, and the Sacred Ground beneath the Grapeland Heights Police Substation in Miami, Florida" in which he fantasizes about obscure objects of desire - movies seen and unseen (and perhaps unseeable) - including the lost "Ambersons."ĭibbern begins with Dario Argento fantasies and works his way to Ambersons and a police station in Florida: ![]()
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