Welles on March 1, 1937 (age 21), photographed by Carl Van Vechten
|Born||George Orson Welles
May 6, 1915
Kenosha, Wisconsin, U.S.
|Died||October 10, 1985
Los Angeles, California, U.S.
|Cause of death||Heart attack|
|Resting place||Ronda, Spain|
|Alma mater||Todd School for Boys|
|Occupation||Actor, film director, theatre director, screenwriter, playwright, film producer, radio personality|
|Partner(s)||Oja Kodar (1966–85)|
|Children||Christopher Welles Feder
Rebecca Welles Manning (1944–2004)
|Parent(s)||Richard Hodgdon Head Welles
Beatrice Ives Welles
|Awards||1941 Academy Award for Best Writing (Original Screenplay) for Citizen Kane
1970 Academy Honorary Award
George Orson Welles (//; May 6, 1915 – October 10, 1985) was an American actor, director, writer, and producer who worked in theatre, radio, and film. He is best remembered for his innovative work in all three media: in theatre, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar; in radio, the 1938 broadcast "The War of the Worlds", one of the most famous in the history of radio; and in film, Citizen Kane (1941), consistently ranked as one of the all-time greatest films.
Welles directed a number of high-profile stage productions for the Federal Theatre Project in his early twenties, including an innovative adaptation of Macbeth and The Cradle Will Rock. In 1937 he and John Houseman founded the Mercury Theatre, an independent repertory theatre company that presented an acclaimed series of productions on Broadway through 1941. Welles found national and international fame as the director and narrator of a 1938 radio adaptation of H. G. Wells' novel The War of the Worlds performed for the radio anthology series The Mercury Theatre on the Air. It reportedly caused widespread panic when listeners thought that an invasion by extraterrestrial beings was occurring. Although some contemporary sources claim these reports of panic were mostly false and overstated, they rocketed Welles to notoriety.
His first film was Citizen Kane (1941), which he co-wrote, produced, directed, and starred in as Charles Foster Kane. Welles was an outsider to the studio system and directed only 13 full-length films in his career. Because of this, he struggled for creative control from the major film studios, and his films were either heavily edited or remained unreleased. His distinctive directorial style featured layered and nonlinear narrative forms, innovative uses of lighting such as chiaroscuro, unusual camera angles, sound techniques borrowed from radio, deep focus shots, and long takes. He has been praised as a major creative force and as "the ultimate auteur".:6
Welles followed up Citizen Kane with critically acclaimed films including The Magnificent Ambersons in 1942 and Touch of Evil in 1958. Although these three are his most acclaimed films, critics have argued other works of his, such as The Lady from Shanghai (1947) and Chimes at Midnight (1966), are under-appreciated.
In 2002, Welles was voted the greatest film director of all time in two British Film Institute polls among directors and critics, and a wide survey of critical consensus, best-of lists, and historical retrospectives calls him the most acclaimed director of all time. Well known for his baritone voice, Welles was a well-regarded actor in radio and film, a celebrated Shakespearean stage actor, and an accomplished magician noted for presenting troop variety shows in the war years.
- 1 Early life
- 2 Early career (1931–1935)
- 3 Theatre (1936–1938)
- 4 Radio (1936–1940)
- 5 Hollywood (1939–1948)
- 5.1 Citizen Kane
- 5.2 The Magnificent Ambersons
- 5.3 Journey into Fear
- 5.4 War work
- 5.5 Post-war work
- 6 Europe (1948–1956)
- 7 Return to Hollywood (1956–1959)
- 8 Return to Europe (1959–1970)
- 9 Later career (1970–1985)
- 10 Personal life
- 11 Politics
- 12 Death and tributes
- 13 Unfinished projects
- 14 Theatre credits
- 15 Radio credits
- 16 Filmography
- 17 Discography
- 18 Awards and honors
- 19 Cultural references
- 20 See also
- 21 Notes
- 22 References
- 23 Further reading
- 24 External links
George Orson Welles was born May 6, 1915, in Kenosha, Wisconsin, son of Richard Head Welles (b. Richard Hodgdon Wells, November 12, 1872, near St. Joseph, Missouri; d. December 28, 1930, Chicago, Illinois):26[a] and Beatrice Ives Welles (b. September 1, 1881, Springfield, Illinois; d. May 10, 1924, Chicago).[b] He was named after his paternal great-grandfather, influential Kenosha attorney Orson S. Head, and his brother George Head.:37
Despite his family's affluence, Welles encountered hardship in childhood. His parents separated and moved to Chicago in 1919. His father, who made a fortune as the inventor of a popular bicycle lamp, became an alcoholic and stopped working. Welles's mother, a pianist, played during lectures by Dudley Crafts Watson at the Art Institute of Chicago to support her son and herself; the oldest Welles boy, "Dickie," was institutionalized at an early age because he had learning difficulties. Beatrice died of hepatitis in a Chicago hospital:3–5 May 10, 1924, aged 42, just after Welles's ninth birthday.:326 The Gordon String Quartet, which had made its first appearance at her home in 1921, played at Beatrice's funeral.
After his mother's death Welles ceased pursuing music. It was decided that he would spend the summer with the Watson family at a private art colony in Wyoming, New York, established by Lydia Avery Coonley Ward.:8 There he played and became friends with the children of the Aga Khan, including the 12-year-old Prince Aly Khan. Then, in what Welles later described as "a hectic period" in his life, he lived in a Chicago apartment with both his father and Dr. Maurice Bernstein, a Chicago physician who had been a close friend of both his parents. Welles briefly attended public school:133 before his alcoholic father left business altogether and took him along on his travels to Jamaica and the Far East. When they returned they settled in a hotel in Grand Detour, Illinois, that was owned by his father. When the hotel burned down Welles and his father took to the road again.:9
"During the three years that Orson lived with his father, some observers wondered who took care of whom", wrote biographer Frank Brady.:9
"In some ways, he was never really a young boy, you know," said Roger Hill, who became Welles's teacher and lifelong friend.:24
Welles briefly attended public school in Madison, Wisconsin, enrolled in the fourth grade.:9 On September 15, 1926, he entered the Todd Seminary for Boys,:3 an expensive independent school in Woodstock, Illinois, that his older brother, Richard Ives Welles, had attended ten years before but was expelled for misbehavior.:48 At Todd School Welles came under the influence of Roger Hill, a teacher who was later Todd's headmaster. Hill provided Welles with an ad hoc educational environment that proved invaluable to his creative experience, allowing Welles to concentrate on subjects that interested him. Welles performed and staged theatrical experiments and productions there.
"Todd provided Welles with many valuable experiences", wrote critic Richard France. "He was able to explore and experiment in an atmosphere of acceptance and encouragement. In addition to a theater the school's own radio station was at his disposal.":27 Welles's first radio performance was on the Todd station, an adaptation of Sherlock Holmes that he also wrote.:7
On December 28, 1930, when Welles was 15, his father died at the age of 58, alone in a hotel in Chicago. His will left it to Orson to name his guardian. When Roger Hill declined, Welles chose Maurice Bernstein.:71–72
Following graduation from Todd in May 1931,:3 Welles was awarded a scholarship to Harvard University, while his mentor Roger Hill advocated he attend Cornell College in Iowa. Rather than enrolling, he chose travel. He studied for a few weeks at the Art Institute of Chicago:117 with Boris Anisfeld, who encouraged him to pursue painting.:18
Welles would occasionally return to Woodstock, the place he eventually named when he was asked in a 1960 interview, "Where is home?" Welles replied, "I suppose it's Woodstock, Illinois, if it's anywhere. I went to school there for four years. If I try to think of a home, it's that."
Early career (1931–1935)
After his father's death, Welles traveled to Europe using a small portion of his inheritance. Welles said that while on a walking and painting trip through Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. The manager of Gate, Hilton Edwards, later said he had not believed him but was impressed by his brashness and an impassioned quality in his audition.:134 Welles made his stage debut at the Gate Theatre on October 13, 1931, appearing in Ashley Dukes's adaptation of Jew Suss as Duke Karl Alexander of Württemberg. He performed small supporting roles in subsequent Gate productions, and he produced and designed productions of his own in Dublin. In March 1932 Welles performed in W. Somerset Maugham's The Circle at Dublin's Abbey Theatre and travelled to London to find additional work in the theatre. Unable to obtain a work permit, he returned to the U.S.:327–330
Welles found his fame ephemeral and turned to a writing project at Todd School that would become the immensely successful, first entitled Everybody's Shakespeare and subsequently, The Mercury Shakespeare. Welles traveled to North Africa while working on thousands of illustrations for the Everybody's Shakespeare series of educational books, a series that remained in print for decades.
In 1933, Roger and Hortense Hill invited Welles along to a party in Chicago, where Welles met Thornton Wilder. Wilder arranged for Welles to meet Alexander Woollcott in New York, in order that he be introduced to Katharine Cornell, who was assembling a repertory theatre company. Cornell's husband, director Guthrie McClintic, immediately put Welles under contract and cast him in three plays.:46–49 Romeo and Juliet, The Barretts of Wimpole Street and Candida toured in repertory for 36 weeks beginning in November 1933, with the first of more than 200 performances taking place in Buffalo, New York.:330–331
In 1934, Welles got his first job on radio — on The American School of the Air — through actor-director Paul Stewart, who introduced him to director Knowles Entrikin.:331 That summer Welles staged a drama festival with the Todd School in Woodstock, Illinois, inviting Micheál Mac Liammóir and Hilton Edwards from Dublin's Gate Theatre to appear along with New York stage luminaries in productions including Trilby, Hamlet, The Drunkard and Tsar Paul. At the old firehouse in Woodstock he also shot his first film, an eight-minute short titled The Hearts of Age.:330–331
A revised production of Katharine Cornell's Romeo and Juliet opened December 20, 1934, at the Martin Beck Theatre in New York.:331–332 The Broadway production brought the 19-year-old Welles (now playing Tybalt) to the notice of John Houseman, a theatrical producer who was casting the lead role in the debut production of Archibald MacLeish's verse play, Panic.:144–158
On November 14, 1934, Welles married Chicago socialite and actress Virginia Nicolson:332 (often misspelled "Nicholson") in a civil ceremony in New York. To appease the Nicolsons, who were furious at the couple's elopement, a formal ceremony took place December 23, 1934, at the New Jersey mansion of the bride's godmother. Welles wore a cutaway borrowed from his friend George Macready.:182
By 1935 Welles was supplementing his earnings in the theater as a radio actor in Manhattan, working with many actors who would later form the core of his Mercury Theatre on programs including America's Hour, Cavalcade of America, Columbia Workshop and The March of Time.:331–332 "Within a year of his debut Welles could claim membership in that elite band of radio actors who commanded salaries second only to the highest paid movie stars," wrote critic Richard France.:172
Federal Theatre Project
Part of the Works Progress Administration, the Federal Theatre Project (1935–39) was a New Deal program to fund theatre and other live artistic performances and entertainment programs in the United States during the Great Depression. It was created as a relief measure to employ artists, writers, directors and theater workers. Under national director Hallie Flanagan it was shaped into a true national theatre that created relevant art, encouraged experimentation and innovation, and made it possible for millions of Americans to see live theatre for the first time. Within a year the Federal Theatre Project employed 15,000 men and women at just over $20 a week. During its nearly four years of existence it played to 30 million people in more than 200 theaters nationwide, as well as portable stages, public parks and schools.:174
Welles joined the Federal Theatre Project and, with John Houseman, he came to run two of its New York City theatres. Far from unemployed — "I was so employed I forgot how to sleep" — Welles put a large share of his $1,500-a-week radio earnings into his stage productions, bypassing administrative red tape and mounting the projects more quickly and professionally. "Roosevelt once said that I was the only operator in history who ever illegally siphoned money into a Washington project," Welles said.:11–13
The Federal Theatre Project was the ideal environment in which Welles could develop his art. Its purpose was employment, so he was able to hire any number of artists, craftsmen and technicians, and he filled the stage with performers.:3 The company for the first production, Macbeth, numbered 150. The second, the farcical Horse Eats Hat, was selected specifically to employ many dozens of vaudevillians and circus performers who had been rejected by other Federal Theatre projects.:212:250
In 1935 Welles was hired by John Houseman and assigned to direct a play for the Federal Theatre Project's Negro Theater Unit. He offered Macbeth. The production became known as the Voodoo Macbeth, because Welles set it in the Haitian court of King Henri Christophe, with voodoo witch doctors for the three Weird Sisters. Jack Carter played Macbeth. Canada Lee, who two years before had rescued Welles from a potentially dangerous scrape with an armed theater-goer, played Banquo. The incidental music was composed by Virgil Thomson. The play opened April 14, 1936, at the Lafayette Theatre in Harlem and was received rapturously. At 20, Welles was hailed as a prodigy. The production then made a 4,000-mile national tour:333 that included two weeks at the Texas Centennial Exposition in Dallas.
Horse Eats Hat
After the success of Macbeth, Welles mounted the farce Horse Eats Hat, an adaptation by Welles and Edwin Denby of Eugène Labiche's play, Un Chapeau de Paille d'Italie.:114 The play was presented September 26 – December 5, 1936, at Maxine Elliott's Theatre, New York.:334 Joseph Cotten was featured in his first starring role.
Welles consolidated his "White Hope" reputation with Dr. Faustus, which used light as a prime unifying scenic element in a nearly black stage. Faustus was presented January 8 – May 9, 1937, at Maxine Elliott's Theatre, New York.:335
The Second Hurricane
In 1937 American composer Aaron Copland chose Welles to direct The Second Hurricane, an operetta with a libretto by Edwin Denby, and one of Copland's least known works. Presented at the Henry Street Settlement Music School in New York for the benefit of high school students, the production opened April 21, 1937, and ran its scheduled three performances.:337 Among the few adult performers in the production was actor Joseph Cotten, Welles's longtime friend and collaborator, who was paid $10 for his performance.
The Cradle Will Rock
In 1937, Welles rehearsed Marc Blitzstein's political operetta, The Cradle Will Rock. It was originally scheduled to open June 16, 1937, in its first public preview. Because of severe federal cutbacks in the Works Progress projects, the show's premiere at the Maxine Elliott Theatre was canceled. The theater was locked and guarded to prevent any government-purchased materials from being used for a commercial production of the work. In a last-minute move, Welles announced to waiting ticket-holders that the show was being transferred to the Venice, 20 blocks away. Some cast, and some crew and audience, walked the distance on foot. The union musicians refused to perform in a commercial theater for lower non-union government wages. The actors' union stated that the production belonged to the Federal Theater Project and could not be performed outside that context without permission. Lacking the participation of the union members, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage with some cast members performing from the audience. This impromptu performance was well received by its audience.
Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury.:119–120
Welles became executive producer and the repertory company eventually included actors such as Ray Collins, George Coulouris, Joseph Cotten, Dolores del Río, Agnes Moorehead, Erskine Sanford and Everett Sloane, all of whom worked for Welles for years.
The first Mercury Theatre stage production was a melodramatic edited version of William Shakespeare's tragedy Julius Caesar, set in a contemporary frame of fascist Italy. Cinna, the Poet dies at the hands not of a mob but of a secret police force. According to Norman Lloyd, who played Cinna the Poet, "it stopped the show."
Simultaneously with his work in the theatre, Welles worked extensively in radio as an actor, writer, director and producer, often without credit.:77 Between 1935 and 1937 he was earning as much as $2,000 a week, shuttling between radio studios at such a pace that he would arrive barely in time for a quick scan of his lines before he was on the air. While he was directing the Voodoo Macbeth Welles was dashing between Harlem and midtown Manhattan three times a day to meet his radio commitments.:172
"What didn't I do on the radio?" Welles reflected in February 1983:
Radio is what I love most of all. The wonderful excitement of what could happen in live radio, when everything that could go wrong did go wrong. I was making a couple of thousand a week, scampering in ambulances from studio to studio, and committing much of what I made to support the Mercury. I wouldn't want to return to those frenetic 20-hour working day years, but I miss them because they are so irredeemably gone.:53
In addition to continuing as a repertory player on The March of Time, in the fall of 1936 Welles adapted and performed Hamlet in an early two-part episode of CBS Radio's Columbia Workshop. His performance as the announcer in the series' April 1937 presentation of Archibald MacLeish's verse drama The Fall of the City was an important development in his radio career:78 and made the 21-year-old Welles an overnight star.:46
In July 1937, the Mutual Network gave Welles a seven-week series to adapt Les Misérables. It was his first job as a writer-director for radio,:338 the radio debut of the Mercury Theatre, and one of Welles's earliest and finest achievements.:160 He invented the use of narration in radio.:88
"By making himself the center of the storytelling process, Welles fostered the impression of self-adulation that was to haunt his career to his dying day," wrote critic Andrew Sarris. "For the most part, however, Welles was singularly generous to the other members of his cast and inspired loyalty from them above and beyond the call of professionalism.":8
The Mercury Theatre on the Air
After the theatrical successes of the Mercury Theatre, CBS Radio invited Orson Welles to create a summer show for 13 weeks. The series began July 11, 1938, initially titled First Person Singular, with the formula that Welles would play the lead in each show. Some months later the show was called The Mercury Theatre on the Air.:12 The weekly hour-long show presented radio plays based on classic literary works, with original music composed and conducted by Bernard Herrmann.
"The War of the Worlds"
The Mercury Theatre's radio adaptation of The War of the Worlds by H. G. Wells October 30, 1938, brought Welles instant fame. The combination of the news bulletin form of the performance with the between-breaks dial spinning habits of listeners was later reported to have created widespread confusion among listeners who failed to hear the introduction, although the extent of this confusion has come into question. Panic was reportedly spread among listeners who believed the fictional news reports of a Martian invasion. The myth of the result created by the combination was reported as fact around the world and disparagingly mentioned by Adolf Hitler in a public speech some months later.
Welles's growing fame drew Hollywood offers, lures that the independent-minded Welles resisted at first. The Mercury Theatre on the Air, which had been a sustaining show (without sponsorship) was picked up by Campbell Soup and renamed The Campbell Playhouse.
The Campbell Playhouse
As a direct result of the front-page headlines Orson Welles generated with his 1938 Halloween production The War of the Worlds, Campbell's Soup signed on as sponsor. The Mercury Theatre on the Air made its last broadcast on December 4, 1938, and The Campbell Playhouse began five days later.
Welles began commuting from Hollywood to New York for the two Sunday broadcasts of The Campbell Playhouse after signing a film contract with RKO Pictures in August 1939. In November 1939, production of the show moved from New York to Los Angeles.:353
After 20 shows, Campbell began to exercise more creative control and had complete control over story selection. As his contract with Campbell came to an end, Welles chose not to sign on for another season. After the broadcast of March 31, 1940, Welles and Campbell parted amicably.:221–226
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After signing a summary agreement with RKO on July 22, Welles signed a full-length 63-page contract August 21, 1939.:353
RKO signed Welles in a two-picture deal; including script, cast, crew and most importantly, final cut, although Welles had a budget limit for his projects. With this contract in hand, Welles (and nearly the whole Mercury Theatre troupe) moved to Hollywood.
Welles toyed with various ideas for his first project for RKO Radio Pictures, settling on an adaptation of Joseph Conrad's Heart of Darkness, which he worked on in detail. He planned to film the action with a subjective camera (a technique later used in the Robert Montgomery film Lady in the Lake). When a budget was drawn up, RKO's enthusiasm cooled because it was greater than the agreed limit.
RKO, having rejected Welles's first two movie proposals, agreed on the third offer, Citizen Kane, which Welles co-wrote, produced and directed, also performing the lead role.
Welles found a suitable film project in an idea he conceived with screenwriter Herman J. Mankiewicz, then writing radio plays for The Campbell Playhouse.:16 Initially titled American, it eventually became Welles's first feature film (his most famous and honored role), Citizen Kane (1941).
Mankiewicz based the original outline on an exposé of the life of William Randolph Hearst, whom he knew socially and came to hate, having once been great friends with Hearst's mistress, Marion Davies.
Supplying Mankiewicz with 300 pages of notes, Welles urged him to write the first draft screenplay under John Houseman, who was posted to ensure Mankiewicz stayed sober. On Welles's instruction, Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Orson Welles explained to Peter Bogdanovich about the writers working separately by saying, "I left him on his own finally, because we'd started to waste too much time haggling. So, after mutual agreements on storyline and character, Mank went off with Houseman and did his version, while I stayed in Hollywood and wrote mine.":54 Taking these drafts, Welles drastically condensed and rearranged them, then added scenes of his own. The industry accused Welles of underplaying Mankiewicz's contribution to the script, but Welles countered the attacks by saying, "At the end, naturally, I was the one making the picture, after all—who had to make the decisions. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own.":54
Charles Foster Kane is based loosely on areas of Hearst's life. Nonetheless, autobiographical allusions to Welles were worked in, most noticeably in the treatment of Kane's childhood and particularly, regarding his guardianship. Welles added features from other famous American lives to create a general and mysterious personality, rather than the narrow journalistic portrait drawn by Mankiewicz, whose first drafts included scandalous claims about the death of film director Thomas Ince.
Once the script was complete, Welles attracted some of Hollywood's best technicians, including cinematographer Gregg Toland, who walked into Welles's office and announced he wanted to work on the picture. Welles described Toland as "the fastest cameraman who ever lived." For the cast, Welles primarily used actors from his Mercury Theatre. He invited suggestions from everyone but only if they were directed through him. Filming Citizen Kane took ten weeks.
Mankiewicz handed a copy of the shooting script to his friend, Charles Lederer, husband of Welles's ex-wife, Virginia Nicolson, and the nephew of Hearst's mistress, Marion Davies. Gossip columnist Hedda Hopper saw a small ad in a newspaper for a preview screening of Citizen Kane and went. Hopper realized immediately that the film was based on features of Hearst's life. Thus began a struggle, the attempted suppression of Citizen Kane.
Hearst's media outlets boycotted the film. They exerted enormous pressure on the Hollywood film community by threatening to expose fifteen years of suppressed scandals and the fact that most studio bosses were Jewish. At one point, heads of the major studios jointly offered RKO the cost of the film in exchange for the negative and existing prints, fully intending to burn them. RKO declined, and the film was given a limited release. Hearst intimidated theater chains by threatening to ban advertising for their other films in his papers if they showed Citizen Kane.
The film was well-received critically, with Bosley Crowther, film critic for the New York Times calling it "close to being the most sensational film ever made in Hollywood". By the time it reached the general public, the publicity had waned. It garnered nine Academy Award nominations (Orson nominated as a producer, director, writer and actor), but won only for Best Original Screenplay, shared by Mankiewicz and Welles. Although it was largely ignored at the Academy Awards, Citizen Kane is now hailed as one of the greatest films ever made. Andrew Sarris called it "the work that influenced the cinema more profoundly than any American film since The Birth of a Nation."
The delay in its release and uneven distribution contributed to mediocre results at the box office; it earned back its budget and marketing, but RKO lost any chance of a major profit. The fact that Citizen Kane ignored many Hollywood conventions meant that the film confused and angered the 1940s cinema public. Exhibitor response was scathing; most theater owners complained bitterly about the adverse audience reaction and the many walkouts. Only a few saw fit to acknowledge Welles's artistic technique. RKO shelved the film and did not re-release it until 1956.
During the 1950s, the film came to be seen by young French film critics such as François Truffaut as exemplifying the "auteur theory", in which the director is the "author" of a film. Truffaut, Godard and others inspired by Welles's example made their own films, giving birth to the Nouvelle Vague. In the 1960s Citizen Kane became popular on college campuses as a film-study exercise and as an entertainment subject. Its revivals on television, home video and DVD have enhanced its "classic" status and ultimately recouped costs. The film is considered by most film critics and historians to be one of, if not the, greatest motion pictures in cinema history.
The Magnificent Ambersons
Welles's second film for RKO was The Magnificent Ambersons, adapted from the Pulitzer Prize-winning novel by Booth Tarkington. George Schaefer hoped to make money with this film, since he lost money with Citizen Kane. Ambersons had been adapted for The Campbell Playhouse by Welles, for radio, and Welles then wrote the screen adaptation. Toland was not available, so Stanley Cortez was named cinematographer. The meticulous Cortez worked slowly and the film lagged behind schedule and over budget. Prior to production, Welles's contract was renegotiated, revoking his right to control the final cut.
The Magnificent Ambersons was in production October 28, 1941 – January 22, 1942. Throughout the shooting of the film Welles was also producing a weekly half-hour radio series, The Orson Welles Show. Many of the Ambersons cast participated in the CBS Radio series, which ran September 15, 1941 – February 2, 1942.:525
Journey into Fear
At RKO's request, Welles worked on an adaptation of Eric Ambler's spy thriller, Journey into Fear, co-written with Joseph Cotten. In addition to acting in the film, Welles was the producer. Direction was credited to Norman Foster. Welles later said that they were in such a rush that the director of each scene was determined by whoever was closest to the camera.
Journey into Fear was in production January 6–March 12, 1942.
In late November 1941, Welles was appointed as a goodwill ambassador to Latin America by Nelson Rockefeller, U.S. Coordinator of Inter-American Affairs and a principal stockholder in RKO Radio Pictures.:244 The Office of the Coordinator of Inter-American Affairs was established in August 1940 by order of the U.S. Council of National Defense, and operated with funds from both the government and the private sector.:10–11 By executive order July 30, 1941, President Franklin D. Roosevelt established the OCIAA within the Office for Emergency Management of the Executive Office of the President, "to provide for the development of commercial and cultural relations between the American Republics and thereby increasing the solidarity of this hemisphere and furthering the spirit of cooperation between the Americas in the interest of hemisphere defense."
The mission of the OCIAA was cultural diplomacy, promoting hemispheric solidarity and countering the growing influence of the Axis powers in Latin America. The OCIAA's Motion Picture Division played an important role in documenting history and shaping opinion toward the Allied nations, particularly after the U.S. entered World War II in December 1941. To support the war effort — and for their own audience development throughout Latin America — Hollywood studios partnered with the U.S. government on a nonprofit basis, making films and incorporating Latin American stars and content into their commercial releases.:10–11
The OCIAA's Motion Picture Division was led by John Hay Whitney, who was asked by the Brazilian government to produce a documentary of the annual Rio Carnival celebration taking place in early February 1942.:40–41 In a telegram December 20, 1941, Whitney wrote Welles, "Personally believe you would make great contribution to hemisphere solidarity with this project.":65
Artists working in a variety of disciplines were sent to Latin America as goodwill ambassadors by the OCIAA, most on tours of two to four months. A select listing includes Misha Reznikoff and photojournalist Genevieve Naylor (October 1940–May 1943); Bing Crosby (August–October 1941); Walt Disney (August–October 1941); Aaron Copland (August–December 1941); George Balanchine and the American Ballet (1941); Rita Hayworth (1942); Grace Moore (1943); John Ford (1943) and Gregg Toland (1943). Welles was thoroughly briefed in Washington, D.C., immediately before his departure for Brazil, and film scholar Catherine L. Benamou, a specialist in Latin American affairs, finds it "not unlikely" that he was among the goodwill ambassadors who were asked to gather intelligence for the U.S. government in addition to their cultural duties. She concludes that Welles's acceptance of Whitney's request was "a logical and patently patriotic choice".:245–247
In addition to working on his ill-fated film project, It's All True, Welles was responsible for radio programs, lectures, interviews and informal talks as part of his OCIAA-sponsored cultural mission, which was a success.:192 He spoke on topics ranging from Shakespeare to visual art to American theatre at gatherings of Brazil's elite, and his two intercontinental radio broadcasts in April 1942 were particularly intended to tell U.S. audiences that President Vargas was a partner with the Allies. Welles's ambassadorial mission would be extended to permit his travel to other nations including Argentina, Bolivia, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru and Uruguay.:247–249, 328
As an emissary of the U.S. government, Welles received no salary.:41, 328
"What's really and ironically true about It's All True," wrote associate producer Richard Wilson, "is that Welles was approached to make a non-commercial picture, then was bitterly reproached for making a non-commercial picture. Right here I'd like to make it a matter of record," Wilson continued:
Both RKO and Welles got into the project by trying to do their bit for the war effort. However: RKO, as a company responsible to stockholders, negotiated a private and tough agreement for the U.S. Government to pay it 300,000 dollars to undertake its bit. This speaks eloquently enough for its evaluation of the project as a non-commercial venture. I personally think that Orson's waiving any payment whatever for his work, and his giving up a lucrative weekly radio program, is even more eloquent. For a well-paid creative artist to work for over half a year for no remuneration is a most uncommon occurrence.:189
Welles's own expectations for the film were modest, as he told biographer Barbara Leaming: "It's All True was not going to make any cinematic history, nor was it intended to. It was intended to be a perfectly honorable execution of my job as a goodwill ambassador, bringing entertainment to the Northern Hemisphere that showed them something about the Southern one.":253
It's All True
"In addition to the tenuous boundary between 'real' and 'staged' events," wrote film scholar Catherine L. Benamou, "there was a thematic emphasis on the achievement of dignity by the working person, along with the celebration of cultural and ethnic diversity of North America.":109
It was to have been his third film for RKO, following Citizen Kane (1941) and The Magnificent Ambersons (1942).:109 Duke Ellington was put under contract to score a segment with the working title, "The Story of Jazz", drawn from Louis Armstrong's 1936 autobiography, Swing That Music.:232–233 The episode was to be a brief dramatization of the history of jazz performance, from its roots to its place in American culture in the 1940s. Cast as himself, Louis Armstrong would play the central role.:109 "The Story of Jazz" was to go into production in December 1941.:119–120
Mercury Productions purchased the stories for two other segments — "My Friend Bonito" and "The Captain's Chair" — from documentary filmmaker Robert J. Flaherty.:33, 326 Adapted by Norman Foster and John Fante (author of a fourth proposed segment, "Love Story"), "My Friend Bonito" was the only segment of the original It's All True to go into production.:109 Filming took place in Mexico September–December 1941, with Norman Foster directing under Welles's supervision.:311
In December 1941, shortly after Welles's appointment as a goodwill ambassador to Latin America, the Office of the Coordinator of Inter-American Affairs asked Welles to make a film in Brazil that would showcase the Carnaval in Rio de Janeiro.:65 With filming of "My Friend Bonito" about two-thirds complete, Welles decided he could shift the geography of It's All True and incorporate Flaherty's story into an omnibus film about Latin America — supporting the Roosevelt administration's Good Neighbor policy, which Welles strongly advocated.:41, 246 In this revised concept, "The Story of Jazz" was replaced by the story of samba, a musical form with a comparable history and one that came to fascinate Welles. He also decided to do a ripped-from-the-headlines episode about the epic voyage of four poor Brazilian fishermen, the jangadeiros, who had become national heroes. Welles later said this was the most valuable story.:158–159:15
Required to film the Carnaval in Rio de Janeiro in early February 1942, Welles rushed to edit The Magnificent Ambersons and finish his acting scenes in Journey into Fear. He ended his CBS radio show February 2, flew to Washington, D.C., for a briefing, and then lashed together a rough cut of Ambersons in Miami with editor Robert Wise.:369–370 Welles recorded the film's narration the night before he left for South America: "I went to the projection room at about four in the morning, did the whole thing, and then got on the plane and off to Rio — and the end of civilization as we know it.":115
Welles left for Brazil on February 4 and began filming in Rio February 8.:369–370
"Welles's diplomatic appointment did not appear at first to disrupt the continuity of either The Magnificent Ambersons or the It's All True projects," wrote Catherine L. Benamou:
Robert Wise planned to fly down to Rio to work with Welles on the final edit of The Magnificent Ambersons, and although it would necessarily undergo a shift in geocultural emphasis, It's All True would retain its basic division into four episodes, along with its narrative foundation in historical experience. … In the very short run, however, the ambassadorial appointment would be the first in a series of turning points leading — in "zigs" and "zags," rather than in a straight line — to Welles's loss of complete directorial control over both The Magnificent Ambersons and It's All True, the cancellation of his contract at RKO Radio Studio, the expulsion of his company Mercury Productions from the RKO lot, and, ultimately, the total suspension of It's All True.:46
As a result of difficult financial circumstances at RKO in 1940–42, major changes occurred at the studio in 1942. Floyd Odlum and the Atlas Corporation took control of RKO and began changing its direction. Nelson Rockefeller, the most significant backer of the Brazil project, left the RKO board of directors. Around that time, the principal sponsor of Welles at RKO, studio president George Schaefer, resigned. The changes throughout RKO caused reevaluations of projects. RKO took control of Ambersons and edited the film into what the studio considered a commercial format. Welles's attempts to protect his version ultimately failed.
In South America, Welles requested resources to finish It's All True. He was given a limited amount of black-and-white film stock and a silent camera. He finished shooting the episode about the jangadeiros, but RKO refused to support further production on the film.
"So I was fired from RKO," Welles told BBC interviewer Leslie Megahey (The Orson Welles Story) in 1982:
And they made a great publicity point of the fact that I had gone to South America without a script and thrown all this money away. I never recovered from that attack. … RKO had its stationery that year, its official stationery, RKO Pictures and its slogan for that year. Printed on every piece of paper that went out from RKO was "Showmanship Instead of Genius". In other words, the reason you should buy an RKO picture was that you didn't get Orson Welles.:188
Radio projects 1942–43
Welles returned to the United States August 22, 1942, after more than six months in South America.:372 A week after his return he produced and emceed the first two hours of a seven-hour coast-to-coast War Bond drive broadcast titled I Pledge America. Airing August 29, 1942, on the Blue Network, the program was presented in cooperation with the United States Department of the Treasury, Western Union (which wired bond subscriptions free of charge) and the American Women's Voluntary Services. Featuring 21 dance bands and a score of stage and screen and radio stars including Fanny Brice, Bob Burns, Jane Cowl, Nelson Eddy, Duke Ellington and His Orchestra, Jane Froman, Edward G. Robinson, Lanny Ross, Carl Sandburg, Dinah Shore, Red Skelton and Meredith Willson, the broadcast raised more than $10 million — more than $146 million today — for the war effort.
On October 12, 1942, Cavalcade of America presented Welles's radio play, Admiral of the Ocean Sea, an entertaining and factual look at the legend of Christopher Columbus.
"It belongs to a period when hemispheric unity was a crucial matter and many programs were being devoted to the common heritage of the Americas," wrote broadcasting historian Erik Barnouw. "Many such programs were being translated into Spanish and Portuguese and broadcast to Latin America, to counteract many years of successful Axis propaganda to that area. The Axis, trying to stir Latin America against Anglo-America, had constantly emphasized the differences between the two. It became the job of American radio to emphasize their common experience and essential unity.":3
Admiral of the Ocean Sea, also known as Columbus Day, begins with the words, "Hello Americans" — the title Welles would choose for his own series five weeks later.:373
Hello Americans, a CBS Radio series broadcast November 15, 1942 – January 31, 1943, was produced, directed and hosted by Welles under the auspices of the Office of the Coordinator for Inter-American Affairs. The 30-minute weekly program promoted inter-American understanding and friendship, drawing upon the research amassed for the ill-fated film, It's All True. The series was produced concurrently with Welles's other CBS series, Ceiling Unlimited (November 9, 1942 – February 1, 1943), sponsored by the Lockheed-Vega Corporation. The program was conceived to glorify the aviation industry and dramatize its role in World War II.
The Mercury Wonder Show
In early 1943, the two concurrent radio series (Ceiling Unlimited, Hello Americans) that Orson Welles created for CBS to support the war effort had ended. Filming also had wrapped on the 1943 film adaptation of Jane Eyre and that fee, in addition to the income from his regular guest-star roles in radio, made it possible for Welles to fulfill a lifelong dream. He approached the War Assistance League of Southern California and proposed a show that evolved into a big-top spectacle, part circus and part magic show. He offered his services as magician and director,:40 and invested some $40,000 of his own money in an extravaganza he co-produced with his friend Joseph Cotten: The Mercury Wonder Show for Service Men. Members of the U.S. armed forces were admitted free of charge, while the general public had to pay.:26 The show entertained more than 1,000 service members each night, and proceeds went to the War Assistance League, a charity for military service personnel.
The development of the show coincided with the resolution of Welles's oft-changing draft status in May 1943, when he was finally declared 4-F — unfit for military service — for a variety of medical reasons. "I felt guilty about the war," Welles told biographer Barbara Leaming. "I was guilt-ridden about my civilian status.":86 He had been publicly hounded about his patriotism since Citizen Kane, when the Hearst press began persistent inquiries about why Welles had not been drafted.:66–67
At intermission September 7, 1943, KMPC radio interviewed audience and cast members of The Mercury Wonder Show — including Welles and Rita Hayworth, who were married earlier that day. Welles remarked that The Mercury Wonder Show had been performed for approximately 48,000 members of the U.S. armed forces.:378:129
A portion of the stage show — in which "Orson the Magnificent" performs tricks like sawing a woman in half — was filmed and included in the morale-boosting 1944 variety film Follow the Boys. The sequence was directed by Welles, uncredited, and features Marlene Dietrich.
Radio projects 1944–45
The idea of doing a radio variety show occurred to Welles after his success as substitute host of four consecutive episodes (March 14–April 4, 1943) of The Jack Benny Program, radio's most popular show, when Benny contracted pneumonia on a performance tour of military bases.:368 A half-hour variety show broadcast January 26–July 19, 1944, on the Columbia Pacific Network, The Orson Welles Almanac presented sketch comedy, magic, mindreading, music and readings from classic works. Many of the shows originated from U.S. military camps, where Welles and his repertory company and guests entertained the troops with a reduced version of The Mercury Wonder Show.:64 The performances of the all-star jazz group Welles brought together for the show were so popular that the band became a regular feature and was an important force in reviving interest in traditional New Orleans jazz.:85
Welles was placed on the U.S. Treasury payroll May 15, 1944, as an expert consultant for the duration of the war, with a retainer of $1 a year. On the recommendation of President Franklin D. Roosevelt, Secretary of the Treasury Henry Morgenthau asked Welles to lead the Fifth War Loan Drive, which opened June 12 with a one-hour radio show on all four networks, broadcast from Texarkana, Texas. Including a statement by the President, the program defined the causes of the war and encouraged Americans to buy $16 billion in bonds to finance the Normandy landings and the most violent phase of World War II. Welles produced additional war loan drive broadcasts June 14 from the Hollywood Bowl, and June 16 from Soldier Field, Chicago.:371–373 Americans purchased $20.6 billion in War Bonds during the Fifth War Loan Drive, which ended July 8, 1944.
Welles campaigned ardently for Roosevelt in 1944. A longtime supporter and campaign speaker for FDR, he occasionally sent the president ideas and phrases that were sometimes incorporated into what Welles characterized as "less important speeches".:372, 374 One of these ideas was the joke in what came to be called the Fala speech, Roosevelt's nationally broadcast September 23 address to the International Teamsters Union which opened the 1944 presidential campaign.:292–293 Welles campaigned for the Roosevelt–Truman ticket almost full-time in the fall of 1944, traveling to nearly every state:373–374 to the detriment of his own health:293–294 and at his own expense.:219 In addition to his radio addresses he filled in for Roosevelt, opposite Republican presidential nominee Thomas E. Dewey, at The New York Herald Tribune Forum broadcast October 18 on the Blue Network.:386:292 Welles accompanied FDR to his last campaign rally, speaking at an event November 4 at Boston's Fenway Park before 40,000 people,:294 and took part in a historic election-eve campaign broadcast November 6 on all four radio networks.:387:166–167
"During a White House dinner," Welles recalled in a 1983 conversation with his friend Roger Hill, "when I was campaigning for Roosevelt, in a toast, with considerable tongue in cheek, he said, 'Orson, you and I are the two greatest actors alive today'. In private that evening, and on several other occasions, he urged me to run for a Senate seat either in California or Wisconsin. He wasn't alone.":115
On November 21, 1944, Welles began his association with This Is My Best, a CBS radio series he would briefly produce, direct, write and host (March 13–April 24, 1945). He wrote a political column called Orson Welles' Almanac (later titled Orson Welles Today) for The New York Post January–November 1945, and advocated the continuation of FDR's New Deal policies and his international vision, particularly the establishment of the United Nations and the cause of world peace.:84
On April 12, 1945, the day Franklin D. Roosevelt died, the Blue-ABC network marshalled its entire executive staff and national leaders to pay homage to the late president. "Among the outstanding programs which attracted wide attention was a special tribute delivered by Orson Welles", reported Broadcasting magazine. Welles spoke at 10:10 p.m Eastern War Time, from Hollywood, and stressed the importance of continuing FDR's work:
He has no need for homage and we who loved him have no time for tears … Our fighting sons and brothers cannot pause tonight to mark the death of him whose name will be given to the age we live in … We cannot do him reverence this April twelfth. There will be time for tears only when his work is done.
Welles presented another special broadcast on the death of Roosevelt the following evening: "We must move on beyond mere death to that free world which was the hope and labor of his life.":390:242
He dedicated the April 17 episode of This Is My Best to Roosevelt and the future of America on the eve of the United Nations Conference on International Organization.:390 Welles was an advisor and correspondent for the Blue-ABC radio network's coverage of the San Francisco conference that formed the UN, taking place April 24–June 23, 1945. He presented a half-hour dramatic program written by Ben Hecht on the opening day of the conference, and on Sunday afternoons (April 29–June 10) he led a weekly discussion from the San Francisco Civic Auditorium.
In the fall of 1945 Welles began work on The Stranger (1946), a film noir drama about a war crimes investigator who tracks a high-ranking Nazi fugitive to an idyllic New England town. Edward G. Robinson, Loretta Young and Welles star.
Producer Sam Spiegel initially planned to hire director John Huston, who had rewritten the screenplay by Anthony Veiller. When Huston entered the military, Welles was given the chance to direct and prove himself able to make a film on schedule and under budget:19 — something he was so eager to do that he accepted a disadvantageous contract. One of its concessions was that he would defer to the studio in any creative dispute.:379:309–310
The Stranger was Welles's first job as a film director in four years.:391 He was told that if the film was successful he could sign a four-picture deal with International Pictures, making films of his own choosing.:379
Welles was given some degree of creative control,:19 and he endeavored to personalize the film and develop a nightmarish tone.:2:30 He worked on the general rewrite of the script and wrote scenes at the beginning of the picture that were shot but subsequently cut by the producers.:186 He filmed in long takes that largely thwarted the control given to editor Ernest J. Nims under the terms of the contract.:15:45
The Stranger was the first commercial film to use documentary footage from the Nazi concentration camps.:189 Welles had seen the footage in early May 1945:102:03 in San Francisco,:56 as a correspondent and discussion moderator at the UN Conference on International Organization.:304 He wrote of the Holocaust footage in his syndicated New York Post column May 7, 1945.:56–57
Completed a day ahead of schedule and under budget,:379–380 The Stranger was the only film made by Welles to have been a bona fide box office success upon its release. Its cost was $1.034 million; 15 months after its release it had grossed $3.216 million.
Within weeks of the completion of the film, International Pictures backed out of its promised four-picture deal with Welles. No reason was given, but the impression was left that The Stranger would not make money.:381
Around the World
In the summer of 1946, Welles directed Around the World, a musical stage adaptation of the Jules Verne novel Around the World in Eighty Days with the book by Welles and music by Cole Porter. Producer Mike Todd, who would later produce the successful 1956 film adaptation, pulled out from the lavish and expensive Broadway production, leaving Welles to support the finances. When Welles ran out of money he convinced Columbia Pictures president Harry Cohn to send enough money to continue the show, and in exchange Welles promised to write, produce, direct and star in a film for Cohn for no further fee. The stage show soon failed due to poor box-office, with Welles unable to claim the losses on his taxes.
In 1946, Welles began two new radio series — The Mercury Summer Theatre on the Air for CBS, and Orson Welles Commentaries for ABC. While Mercury Summer Theatre featured half-hour adaptations of some classic Mercury radio shows from the 1930s, the first episode was a condensation of his Around the World stage play, and is the only record of Cole Porter's music for the project. Several original Mercury actors returned for the series, as well as Bernard Herrmann. It was only scheduled for the summer months, and Welles invested his earnings into his failing stage play. Commentaries was a political vehicle for him, continuing the themes from his New York Post column. Again, Welles lacked a clear focus, until the NAACP brought to his attention the case of Isaac Woodard. Welles brought significant attention to Woodard's cause.
The Lady from Shanghai
The film that Welles was obliged to make in exchange for Harry Cohn's help in financing the stage production Around the World was The Lady from Shanghai, filmed in 1947 for Columbia Pictures. Intended as a modest thriller, the budget skyrocketed after Cohn suggested that Welles's then-estranged second wife Rita Hayworth co-star.
Cohn disliked Welles's rough-cut, particularly the confusing plot and lack of close-ups, and was not in sympathy with Welles's Brechtian use of irony and black comedy, especially in a farcical courtroom scene. Cohn ordered extensive editing and re-shoots. After heavy editing by the studio, approximately one hour of Welles's first cut was removed, including much of a climactic confrontation scene in an amusement park funhouse. While expressing displeasure at the cuts, Welles was appalled particularly with the musical score. The film was considered a disaster in America at the time of release, though the closing shootout in a hall of mirrors has since become a touchstone of film noir. Not long after release, Welles and Hayworth finalized their divorce.
Although The Lady From Shanghai was acclaimed in Europe, it was not embraced in the U.S. until decades later. A similar difference in reception on opposite sides of the Atlantic followed by greater American acceptance befell the Welles-inspired Chaplin film Monsieur Verdoux, originally to be directed by Welles starring Chaplin, then directed by Chaplin with the idea credited to Welles.
Prior to 1948, Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth, which featured highly stylized sets and costumes, and a cast of actors lip-syncing to a pre-recorded soundtrack, one of many innovative cost-cutting techniques Welles deployed in an attempt to make an epic film from B-movie resources. The script, adapted by Welles, is a violent reworking of Shakespeare's original, freely cutting and pasting lines into new contexts via a collage technique and recasting Macbeth as a clash of pagan and proto-Christian ideologies. Some voodoo trappings of the famous Welles/Houseman Negro Theatre stage adaptation are visible, especially in the film's characterization of the Weird Sisters, who create an effigy of Macbeth as a charm to enchant him. Of all Welles's post-Kane Hollywood productions, Macbeth is stylistically closest to Citizen Kane in its long takes and deep focus photography.
Republic initially trumpeted the film as an important work but decided it did not care for the Scottish accents and held up general release for almost a year after early negative press reaction, including Life's comment that Welles's film "doth foully slaughter Shakespeare." Welles left for Europe, while co-producer and lifelong supporter Richard Wilson reworked the soundtrack. Welles returned and cut 20 minutes from the film at Republic's request and recorded narration to cover some gaps. The film was decried as a disaster. Macbeth had influential fans in Europe, especially the French poet and filmmaker Jean Cocteau, who hailed the film's "crude, irreverent power" and careful shot design, and described the characters as haunting "the corridors of some dreamlike subway, an abandoned coal mine, and ruined cellars oozing with water."
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In Italy he starred as Cagliostro in the 1948 film Black Magic. His co-star, Akim Tamiroff, impressed Welles so much that Tamiroff would appear in four of Welles's productions during the 1950s and 1960s.
The following year, Welles starred as Harry Lime in Carol Reed's The Third Man, alongside Joseph Cotten, his friend and co-star from Citizen Kane, with a script by Graham Greene and a memorable score by Anton Karas.
Welles appeared as Cesare Borgia in the 1949 Italian film Prince of Foxes, with Tyrone Power and Mercury Theatre alumnus Everett Sloane, and as the Mongol warrior Bayan in the 1950 film version of the novel The Black Rose (again with Tyrone Power). 
During this time, Welles was channeling his money from acting jobs into a self-financed film version of Shakespeare's play Othello. From 1949 to 1951, Welles worked on Othello, filming on location in Europe and Morocco. The film featured Welles's friends, Micheál Mac Liammóir as Iago and Hilton Edwards as Desdemona's father Brabantio. Suzanne Cloutier starred as Desdemona and Campbell Playhouse alumnus Robert Coote appeared as Iago's associate Roderigo.
Filming was suspended several times as Welles ran out of funds and left for acting jobs, accounted in detail in MacLiammóir's published memoir Put Money in Thy Purse. The American release prints had a technically flawed soundtrack, suffering from a drop-out of sound at every quiet moment. Welles's daughter, Beatrice Welles-Smith, restored Othello in 1992 for a wide re-release. The restoration included reconstructing Angelo Francesco Lavagnino's original musical score, which was originally inaudible, and adding ambient stereo sound effects, which were not in the original film. The restoration went on to a successful theatrical run in America.
In 1952, Welles continued finding work in England after the success of the Harry Lime radio show. Harry Alan Towers offered Welles another series, The Black Museum, which ran for 52 weeks with Welles as host and narrator. Director Herbert Wilcox offered Welles the part of the murdered victim in Trent's Last Case, based on the novel by E. C. Bentley. In 1953, the BBC hired Welles to read an hour of selections from Walt Whitman's epic poem Song of Myself. Towers hired Welles again, to play Professor Moriarty in the radio series, The Adventures of Sherlock Holmes, starring John Gielgud and Ralph Richardson.
Welles briefly returned to America to make his first appearance on television, starring in the Omnibus presentation of King Lear, broadcast live on CBS October 18, 1953. Directed by Peter Brook, the production costarred Natasha Parry, Beatrice Straight and Arnold Moss.
In 1954, director George More O'Ferrall offered Welles the title role in the 'Lord Mountdrago' segment of Three Cases of Murder, co-starring Alan Badel. Herbert Wilcox cast Welles as the antagonist in Trouble in the Glen opposite Margaret Lockwood, Forrest Tucker and Victor McLaglen. Old friend John Huston cast him as Father Mapple in his 1956 film adaptation of Herman Melville's Moby-Dick, starring Gregory Peck.
Welles's next turn as director was the film Mr. Arkadin (1955), which was produced by his political mentor from the 1940s, Louis Dolivet. It was filmed in France, Germany, Spain and Italy on a very limited budget. Based loosely on several episodes of the Harry Lime radio show, it stars Welles as a billionaire who hires a man to delve into the secrets of his past. The film stars Robert Arden, who had worked on the Harry Lime series; Welles's third wife, Paola Mori, whose voice was dubbed by actress Billie Whitelaw; and guest stars Akim Tamiroff, Michael Redgrave, Katina Paxinou and Mischa Auer. Frustrated by his slow progress in the editing room, producer Dolivet removed Welles from the project and finished the film without him. Eventually five different versions of the film would be released, two in Spanish and three in English. The version that Dolivet completed was retitled Confidential Report. In 2005 Stefan Droessler of the Munich Film Museum oversaw a reconstruction of the surviving film elements.
In 1955, Welles also directed two television series for the BBC. The first was Orson Welles' Sketch Book, a series of six 15-minute shows featuring Welles drawing in a sketchbook to illustrate his reminiscences for the camera (including such topics as the filming of It's All True and the Isaac Woodard case), and the second was Around the World with Orson Welles, a series of six travelogues set in different locations around Europe (such as Venice, the Basque Country between France and Spain, and England). Welles served as host and interviewer, his commentary including documentary facts and his own personal observations (a technique he would continue to explore in later works).
In 1956, Welles completed Portrait of Gina. The film cans would remain in a lost-and-found locker at the hotel for several decades, where they were discovered after Welles's death.
Return to Hollywood (1956–1959)
In 1956, Welles returned to Hollywood.
He began filming a projected pilot for Desilu, owned by Lucille Ball and her husband Desi Arnaz, who had recently purchased the former RKO studios. The film was The Fountain of Youth, based on a story by John Collier. Originally deemed not viable as a pilot, the film was not aired until 1958 — and won the Peabody Award for excellence.
Welles guest starred on television shows including I Love Lucy. On radio, he was narrator of Tomorrow (October 17, 1956), a nuclear holocaust drama produced and syndicated by ABC and the Federal Civil Defense Administration.
Touch of Evil
Welles stayed on at Universal to direct (and co-star with) Charlton Heston in the 1958 film Touch of Evil, based on Whit Masterson's novel Badge of Evil. Originally only hired as an actor, Welles was promoted to director by Universal Studios at the insistence of Charlton Heston.:154 The film reunited many actors and technicians with whom Welles had worked in Hollywood in the 1940s, including cameraman Russell Metty (The Stranger), makeup artist Maurice Seiderman (Citizen Kane), and actors Joseph Cotten, Marlene Dietrich and Akim Tamiroff. Filming proceeded smoothly, with Welles finishing on schedule and on budget, and the studio bosses praising the daily rushes. Nevertheless, after the end of production, the studio re-edited the film, re-shot scenes, and shot new exposition scenes to clarify the plot.:175–176 Welles wrote a 58-page memo outlining suggestions and objections, stating that the film was no longer his version—it was the studio's, but as such, he was still prepared to help with it.:175–176
In 1978, a longer preview version of the film was discovered and released.
Return to Europe (1959–1970)
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He continued shooting Don Quixote in Spain and Italy, but replaced Mischa Auer with Francisco Reiguera, and resumed acting jobs. In Italy in 1959, Welles directed his own scenes as King Saul in Richard Pottier's film David and Goliath. In Hong Kong he co-starred with Curt Jürgens in Lewis Gilbert's film Ferry to Hong Kong. In 1960, in Paris he co-starred in Richard Fleischer's film Crack in the Mirror. In Yugoslavia he starred in Richard Thorpe's film The Tartars and Veljko Bulajić's "Battle of Neretva".
Throughout the 1960s, filming continued on Quixote on-and-off until the decade, as Welles evolved the concept, tone and ending several times. Although he had a complete version of the film shot and edited at least once, he would continue toying with the editing well into the 1980s, he never completed a version film he was fully satisfied with, and would junk existing footage and shoot new footage. (In one case, he had a complete cut ready in which Quixote and Sancho Panza end up going to the moon, but he felt the ending was rendered obsolete by the 1969 moon landings, and burned 10 reels of this version.) As the process went on, Welles gradually voiced all of the characters himself and provided narration. In 1992, the director Jesús Franco constructed a film out of the portions of Quixote left behind by Welles. Some of the film stock had decayed badly. While the Welles footage was greeted with interest, the post-production by Franco was met with harsh criticism.
In 1961, Welles directed In the Land of Don Quixote, a series of eight half-hour episodes for the Italian television network RAI. Similar to the Around the World with Orson Welles series, they presented travelogues of Spain and included Welles's wife, Paola, and their daughter, Beatrice. Though Welles was fluent in Italian, the network was not interested in him providing Italian narration because of his accent, and the series sat unreleased until 1964, by which time the network had added Italian narration of its own. Ultimately, versions of the episodes were released with the original musical score Welles had approved, but without the narration.
In 1962, Welles directed his adaptation of The Trial, based on the novel by Franz Kafka and produced by Alexander Salkind and Michael Salkind. The cast included Anthony Perkins as Josef K, Jeanne Moreau, Romy Schneider, Paola Mori and Akim Tamiroff. While filming exteriors in Zagreb, Welles was informed that the Salkinds had run out of money, meaning that there could be no set construction. No stranger to shooting on found locations, Welles soon filmed the interiors in the Gare d'Orsay, at that time an abandoned railway station in Paris. Welles thought the location possessed a "Jules Verne modernism" and a melancholy sense of "waiting", both suitable for Kafka. To remain in the spirit of Kafka Welles set up the cutting room together with the Film Editor, Frederick Muller (as Fritz Muller), in the old un-used, cold, depressing, station master office. The film failed at the box-office. Peter Bogdanovich would later observe that Welles found the film riotously funny. During the filming, Welles met Oja Kodar, who would later become his muse, star and mistress for the last twenty years of his life. Welles also stated in an interview with the BBC that it was his best film.
Welles played a film director in La Ricotta (1963)—Pier Paolo Pasolini's segment of the Ro.Go.Pa.G. movie, although his renowned voice was dubbed by Italian writer Giorgio Bassani.:516 He continued taking what work he could find acting, narrating or hosting other people's work, and began filming Chimes at Midnight, which was completed in 1966. Filmed in Spain, it was a condensation of five Shakespeare plays, telling the story of Falstaff and his relationship with Prince Hal. The cast included Keith Baxter, John Gielgud, Jeanne Moreau, Fernando Rey and Margaret Rutherford, with narration by Ralph Richardson. Music was again by Angelo Francesco Lavagnino. Jesùs Franco served as second unit director. The film was edited by Frederick Muller (as Fritz Muller) who had already worked with Welles editing The Trial.
Chimes at Midnight
Chimes at Midnight was based on Welles's play Five Kings which condensed five of Shakespeare's plays into one show in order to focus on the story of Falstaff. Welles produced the show in New York in 1939 but the opening night, where part 1 was acted, was a disaster and part 2 was never put on. He revamped the show and revisited it in 1960 at the Gate Theatre in Dublin. But again, it was not successful. However, this later production was used as the base for the movie. The script contained text from five plays: primarily Henry IV, Part 1 and Henry IV, Part 2, but also Richard II, Henry V and The Merry Wives of Windsor. Keith Baxter played Prince Hal, and internationally respected Shakespearean interpreter, John Gielgud, played the King, Henry IV. The film's narration, spoken by Ralph Richardson, is taken from the chronicler Raphael Holinshed. According to Jeanne Moreau, Welles delayed filming for two weeks due to stage fright. Welles held this film in high regard and considered it, along with The Trial, his best work. As he remarked in 1982, "If I wanted to get into heaven on the basis of one movie, that's the one I'd offer up."
In 1966, Welles directed a film for French television, an adaptation of The Immortal Story, by Karen Blixen. Released in 1968, it stars Jeanne Moreau, Roger Coggio and Norman Eshley. The film had a successful run in French theaters. At this time Welles met Oja Kodar again, and gave her a letter he had written to her and had been keeping for four years; they would not be parted again. They immediately began a collaboration both personal and professional. The first of these was an adaptation of Blixen's The Heroine, meant to be a companion piece to The Immortal Story and starring Kodar. Unfortunately, funding disappeared after one day's shooting. After completing this film, he appeared in a brief cameo as Cardinal Wolsey in Fred Zinnemann's adaptation of A Man for All Seasons—a role for which he won considerable acclaim.
In 1967, Welles began directing The Deep, based on the novel Dead Calm by Charles Williams and filmed off the shore of Yugoslavia. The cast included Jeanne Moreau, Laurence Harvey and Kodar. Personally financed by Welles and Kodar, they could not obtain the funds to complete the project, and it was abandoned a few years later after the death of Harvey. The surviving footage was eventually edited and released by the Filmmuseum München. In 1968 Welles began filming a TV special for CBS under the title Orson's Bag, combining travelogue, comedy skits and a condensation of Shakespeare's play The Merchant of Venice with Welles as Shylock. In 1969 Welles called again the Film Editor Frederick Muller to work with him re-editing the material and they set up cutting rooms at the Safa Palatino Studios in Rome. Funding for the show sent by CBS to Welles in Switzerland was seized by the IRS. Without funding, the show was not completed. The surviving film clips portions were eventually released by the Filmmuseum München.
In 1969, Welles authorized the use of his name for a cinema in Cambridge, Massachusetts. The Orson Welles Cinema remained in operation until 1986, with Welles making a personal appearance there in 1977. Also in 1969 he played a supporting role in John Huston's The Kremlin Letter. Drawn by the numerous offers he received to work in television and films, and upset by a tabloid scandal reporting his affair with Kodar, Welles abandoned the editing of Don Quixote and moved back to America in 1970.
Later career (1970–1985)
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Welles returned to Hollywood, where he continued to self-finance his film and television projects. While offers to act, narrate and host continued, Welles also found himself in great demand on television talk shows. He made frequent appearances for Dick Cavett, Johnny Carson, Dean Martin and Merv Griffin.
Welles's primary focus during his final years was The Other Side of the Wind, an unfinished project that was filmed intermittently between 1970 and 1976. Written by Welles, it is the story of an aging film director (John Huston) looking for funds to complete his final film. The cast includes Peter Bogdanovich, Susan Strasberg, Norman Foster, Edmond O'Brien, Cameron Mitchell and Dennis Hopper. Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed. While there have been several reports of all the legal disputes concerning ownership of the film being settled, enough disputes still exist to prevent its release.
In 1971, Welles directed a short adaptation of Moby-Dick, a one-man performance on a bare stage, reminiscent of his 1955 stage production Moby Dick—Rehearsed. Never completed, it was eventually released by the Filmmuseum München. He also appeared in Ten Days' Wonder, co-starring with Anthony Perkins and directed by Claude Chabrol, based on a detective novel by Ellery Queen. That same year, the Academy of Motion Picture Arts and Sciences gave him an honorary award "For superlative artistry and versatility in the creation of motion pictures". Welles pretended to be out of town and sent John Huston to claim the award, thanking the Academy on film. Huston criticized the Academy for awarding Welles, even while they refused to give Welles any work.
In 1972, Welles acted as on-screen narrator for the film documentary version of Alvin Toffler's 1970 book Future Shock. Working again for a British producer, Welles played Long John Silver in director John Hough's Treasure Island (1972), an adaptation of the Robert Louis Stevenson novel, which had been the second story broadcast by The Mercury Theatre on the Air in 1938. This was the last time he played the lead role in a major film. Welles also contributed to the script, his writing credit was attributed to the pseudonym 'O. W. Jeeves'. Some of Welles' original recorded dialog was redubbed by Robert Rietty.
In 1973, Welles completed F for Fake, a personal essay film about art forger Elmyr de Hory and the biographer Clifford Irving. Based on an existing documentary by François Reichenbach, it included new material with Oja Kodar, Joseph Cotten, Paul Stewart and William Alland. An excerpt of Welles's 1930s War of the Worlds broadcast was recreated for this film; however, none of the dialogue heard in the film actually matches what was originally broadcast. Welles filmed a five-minute trailer, rejected in the U.S., that featured several shots of a topless Kodar.
Welles hosted and narrated a syndicated anthology series, Orson Welles's Great Mysteries, over the 1973–1974 television season. It did not last beyond that season; however, the program could be perceived as a television revival of the Mercury Theatre whose executive producer Welles had been in the 1930s and 1940s. The year 1974 also saw Welles lending his voice for that year's remake of Agatha Christie's classic thriller Ten Little Indians produced by his former associate, Harry Alan Towers and starring an international cast that included Oliver Reed, Elke Sommer and Herbert Lom.
In 1975, Welles narrated the documentary Bugs Bunny: Superstar, focusing on Warner Bros. cartoons from the 1940s. Also in 1975, the American Film Institute presented Welles with its third Lifetime Achievement Award (the first two going to director John Ford and actor James Cagney). At the ceremony, Welles screened two scenes from the nearly finished The Other Side of the Wind.
In 1976, Paramount Television purchased the rights for the entire set of Rex Stout's Nero Wolfe stories for Orson Welles.[c] Welles had once wanted to make a series of Nero Wolfe movies, but Rex Stout – who was leery of Hollywood adaptations during his lifetime after two disappointing 1930s films – turned him down.[d] Paramount planned to begin with an ABC-TV movie and hoped to persuade Welles to continue the role in a mini-series. Frank D. Gilroy was signed to write the television script and direct the TV movie on the assurance that Welles would star, but by April 1977 Welles had bowed out. In 1980 the Associated Press reported "the distinct possibility" that Welles would star in a Nero Wolfe TV series for NBC television. Again, Welles bowed out of the project due to creative differences and William Conrad was cast in the role.[e][f]:87–88
In 1979, Welles completed his documentary Filming Othello, which featured Michael MacLiammoir and Hilton Edwards. Made for West German television, it was also released in theaters. That same year, Welles completed his self-produced pilot for The Orson Welles Show television series, featuring interviews with Burt Reynolds, Jim Henson and Frank Oz and guest-starring The Muppets and Angie Dickinson. Unable to find network interest, the pilot was never broadcast. Also in 1979, Welles appeared in the biopic The Secret of Nikola Tesla, and a cameo in The Muppet Movie as Lew Lord.
Beginning in the late 1970s, Welles participated in a series of famous television commercial advertisements. For two years he was on-camera spokesman for the Paul Masson Vineyards,[g] and sales grew by one third during the time Welles intoned what became a popular catchphrase: "We will sell no wine before its time." He was also the voice behind the long-running Carlsberg "Probably the best lager in the world" campaign, promoted Domecq sherry on British television and provided narration on adverts for Findus, though the actual adverts have been overshadowed by a famous blooper reel of voice recordings, known as the Frozen Peas reel. He also did commercials for the Preview Subscription Television Service seen on stations around the country including WCLQ/Cleveland, KNDL/St. Louis and WSMW/Boston.
In 1981, Welles hosted the documentary The Man Who Saw Tomorrow, about Renaissance-era prophet Nostradamus. In 1982, the BBC broadcast The Orson Welles Story in the Arena series. Interviewed by Leslie Megahey, Welles examined his past in great detail, and several people from his professional past were interviewed as well. It was reissued in 1990 as With Orson Welles: Stories of a Life in Film. Welles provided narration for the tracks "Defender" from Manowar's 1987 album Fighting the World and "Dark Avenger" on their 1982 album, Battle Hymns. His name was misspelled on the latter album, as he was credited as "Orson Wells".
During the 1980s, Welles worked on such film projects as The Dreamers, based on two stories by Isak Dinesen and starring Oja Kodar, and Orson Welles' Magic Show, which reused material from his failed TV pilot. Another project he worked on was Filming The Trial, the second in a proposed series of documentaries examining his feature films. While much was shot for these projects, none of them was completed. All of them were eventually released by the Filmmuseum München.
In 1984, Welles narrated the short-lived television series Scene of the Crime. During the early years of Magnum, P.I., Welles was the voice of the unseen character Robin Masters, a famous writer and playboy. Welles's death forced this minor character to largely be written out of the series. In an oblique homage to Welles, the Magnum, P.I. producers ambiguously concluded that story arc by having one character accuse another of having hired an actor to portray Robin Masters. He also, in this penultimate year released a music single, titled "I Know What It Is To Be Young (But You Don't Know What It Is To Be Old)", which he recorded under Italian label Compagnia Generale del Disco. The song was performed with the Nick Perito Orchestra and the Ray Charles Singers and produced by Jerry Abbott who was father to famed metal guitarist Dimebag Darrell.
The last film roles before Welles's death included voice work in the animated films The Enchanted Journey (1984) and The Transformers: The Movie (1986), in which he played the planet-eating robot Unicron. His last film appearance was in Henry Jaglom's 1987 independent film Someone to Love, released after his death but produced before his voice-over in Transformers: The Movie. His last television appearance was on the television show Moonlighting. He recorded an introduction to an episode entitled "The Dream Sequence Always Rings Twice", which was partially filmed in black and white. The episode aired five days after his death and was dedicated to his memory.
In the mid-1980s, Henry Jaglom taped lunch conversations with Welles at Los Angeles's Ma Maison as well as in New York. Edited transcripts of these sessions appear in Peter Biskind's 2013 book My Lunches With Orson: Conversations Between Henry Jaglom and Orson Welles.
Relationships and family
Welles fell in love with Mexican actress Dolores del Río. Ten years younger than del Río, Welles had been in love with her ever since he saw her in the film Bird of Paradise when he was 17 years old. His relationship of four years (1938-1942) with del Río came to an end, among other things, due to the infidelities of Welles. Del Río returned to México in 1943 and shortly after Welles married with Rita Hayworth. They acted together in the movie Journey into Fear (1943). Welles was reunited with Dolores during a periodic visits to Mexico in the late 1940s, when his marriage to Hayworth was totally unhappy, but they never resumed their relationship. n 1954 Rebecca Welles, the daughter of Welles and Hayworth, traveled to Mexico with the intention to meet Dolores. Rebecca said shortly after their meeting: "My father considered this woman as the great love of his life. She was a sort of living legend in the history of my family". According to Rebecca, her father had an obsession for Dolores del Río until the end of his life. He took Dolores "look-alikes" as his third wife and as his final lover.
Welles married Rita Hayworth in 1943. The couple became estranged by 1946 – Welles blamed Hayworth for making unfounded accusations of infidelity, and after he was turned out of the marital bed he then actually started to have affairs, which in turn prompted Hayworth to have affairs of her own. They briefly reconciled in 1947 during the making of The Lady from Shanghai, before finally separating. They were divorced on November 10, 1947.:142 During his last interview, recorded for The Merv Griffin Show on the evening before his death, Welles called Hayworth "one of the dearest and sweetest women that ever lived … and we were a long time together — I was lucky enough to have been with her longer than any of the other men in her life."
In 1955, Welles married actress Paola Mori (née Countess Paola di Girifalco), an Italian aristocrat who starred as Raina Arkadin in his 1955 film, Mr. Arkadin. The couple had embarked on a passionate affair, and after she became pregnant they were married at her parents' insistence.:168 They were wed in London May 8, 1955,:417, 419 and never divorced.
Croatian-born actress Oja Kodar became Welles's longtime companion both personally and professionally from 1966 onwards, and they lived together for some of the last 19 years of his life. They first met in Zagreb in 1962, while Welles was filming The Trial, and embarked on a passionate, short-lived affair which ended when Paola Mori had a cancer scare and Welles returned to his wife. Kodar assumed Welles had left for good, and Welles hired a private detective to track down Kodar, to no avail. Three years passed, and Kodar was by then living in Paris and in a relationship with a struggling young actor. When they saw a press feature that Welles was in Paris, the young actor persuaded a reluctant Kodar to use her influence with Welles to get him a job. When she telephoned him, Welles immediately rushed to her hotel room, broke down the door, and pulled out a small metal box from his jacket. It contained a love letter to her.
With the passing years, Welles's domestic arrangements became more complicated. From 1966 he always maintained at least two separate homes, one with Kodar, the other with Mori and their daughter Beatrice. In the 1960s and 1970s, he shared houses just outside Paris and Madrid with Kodar. Although British tabloids reported his affair with Kodar as early as 1969 (which was a factor in his moving permanently to the United States in 1970), both Mori and Beatrice remained oblivious as to Kodar's existence until 1984. Welles set up a home with Mori and Beatrice in the United States (first in Sedona, then in Las Vegas), ostensibly because the climate would be good for his asthma. But while they lived in Las Vegas, he spent most of his time in Los Angeles, where he openly shared a house with Kodar.
This situation had serious ramifications for the copyright status of his work after his death. Welles left Kodar his Los Angeles home and the rights to his unfinished films, and turned the rest over to Mori. Mori contended that she should have been left everything, and a year after Welles's death, Mori and Kodar finally agreed on the settlement of his will. On the way to their meeting to sign the papers, however, Mori was killed in a car accident in August 1986. Mori's half of the estate was inherited by Beatrice, who refused to come to an arrangement with Kodar, who she blames for undermining her parents' marriage.
Welles had three daughters from his marriages: Christopher Welles Feder (born March 27, 1938, with Virginia Nicolson); Rebecca Welles Manning (December 17, 1944 – October 17, 2004, with Rita Hayworth); and Beatrice Welles (born November 13, 1955, with Paola Mori). His only known son, British director Michael Lindsay-Hogg (Sir Michael Lindsay-Hogg, 5th baronet, born May 5, 1940), is from Welles's affair with Irish actress Geraldine Fitzgerald, then the wife of Sir Edward Lindsay-Hogg, 4th baronet. Although Hogg knew Welles sporadically and occasionally worked as his assistant, and had long been rumoured to be his son given their strong physical resemblance, he refused to believe such rumours until it was confirmed to him by Gloria Vanderbilt in 2010. In her autobiography, In My Father's Shadow, Feder wrote about being a childhood friend and neighbor of Lindsay-Hogg's and always suspecting he might be her half-brother.
After the death of Rebecca Welles Manning, a man named Marc McKerrow was revealed to be her biological son, and therefore the direct descendant of Orson Welles and Rita Hayworth. McKerrow's reactions to the revelation and his meeting with Oja Kodar are documented in the 2008 film Prodigal Sons. McKerrow died June 18, 2010.
Despite an urban legend promoted by Welles himself,[h] he was not related to Abraham Lincoln's wartime Secretary of the Navy, Gideon Welles. The myth dates back to the first newspaper feature ever written about Welles — "Cartoonist, Actor, Poet and only 10" — in the February 19, 1926, issue of The Capital Times. The article falsely states that he was descended from "Gideon Welles, who was a member of President Lincoln's cabinet".:47–48:311 As presented by Charles Higham in a genealogical chart that introduces his 1985 biography of Welles, Orson Welles's father was Richard Head Welles (born Wells), son of Richard Jones Wells, son of Henry Hill Wells (who had an uncle named Gideon Wells), son of William Hill Wells, son of Richard Wells (1734–1801).
In his 1956 biography, Peter Noble describes Welles as "a magnificent figure of a man, over six feet tall, handsome, with flashing eyes and a gloriously resonant speaking-voice".:19 Welles said that a voice specialist once told him he was born to be a heldentenor, a heroic tenor, but that when he was young and working at the Dublin Gate Theatre he forced his voice down into a bass-baritone.:144
"Never robust, even as a baby Welles was given to ill health", wrote biographer Frank Brady, who notes that from infancy Welles suffered from asthma, sinus headaches and back pain, with bouts of diphtheria, measles, whooping cough and malaria. "As he grew older," Brady wrote, "his ill health was exacerbated by the late hours he was allowed to keep [and] an early penchant for alcohol and tobacco".:8
In 1928, at age 13, Welles was already more than six feet tall and weighed over 180 pounds.:50 He reached a height of six feet three and a half inches,:242 but biographer Simon Callow notes a loss of height detailed in a medical examination Welles had April 24, 1941, after the physical trials of making Citizen Kane. Welles complained of "attacks of knife-like pain behind the sternal notch with sensations of smothering":
The physical examination (which records his height as 72 inches, three and a half inches shorter than his usual reported height, and his weight as 218 lbs: 15.5 stones) further reveals scoliosis of the spine, and spina bifida occulta. 'These congenital anomalies of the spine give rise to backache resulting from trauma.' In addition he has 'a very marked degree of pes planus [flat foot: everted] which accounts for the great amount of foot and ankle trouble … There is nothing very serious with the heart action but you cannot afford to abuse that organ because of a tendency to be susceptible to damage.' It must have been a relief to discover that, despite a vast alcoholic intake, coupled with regular infusions of benzedrine and amphetamines, the sorely abused organ in question was holding up so well.:560
"Crash diets, drugs, and corsets had slimmed him for his early film roles," wrote biographer Barton Whaley. "Then always back to gargantuan consumption of high-caloric food and booze. By summer 1949, when he was 34, his weight had crept up to a stout 230 pounds. In 1953 he ballooned from 250 to 275 pounds. After 1960 he remained permanently obese.":329
His obesity was severe to the point that it restricted his ability to travel, aggravated other health conditions, including his asthma, and even required him to go on a diet in order to play the famously portly character Sir John Falstaff.
Although the Welles family was no longer devout, it was fourth-generation Protestant Episcopalian and, before that, Quaker and Puritan.:12 Welles's earliest paternal forebear in America, Richard Wells, was a leader of the Quaker community in Pennsylvania. His earliest maternal ancestor in America was John Alden, a crew member on the Pilgrim ship Mayflower.:5
In April 1982, when interviewer Merv Griffin asked him about his religious beliefs, Welles replied, "I try to be a Christian. I don't pray really, because I don't want to bore God.":576 Near the end of his life Welles was dining at Ma Maison, his favorite restaurant in Los Angeles, when proprietor Patrick Terrail conveyed an invitation from the head of the Greek Orthodox Church, who asked Welles to be his guest of honor at divine liturgy at Saint Sophia Cathedral. Welles replied, "Please tell him I really appreciate that offer, but I am an atheist.":104–105
"Orson never joked or teased about the religious beliefs of others," wrote biographer Barton Whaley. "He accepted it as a cultural artifact, suitable for the births, deaths, and marriages of strangers and even some friends — but without emotional or intellectual meaning for himself.":12
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Welles was politically active from the beginning of his career. He remained aligned with the left throughout his life, and always defined his political orientation as "progressive". He was a strong supporter of Franklin D. Roosevelt and the New Deal, and often spoke out on radio in support of progressive politics. He campaigned heavily for Roosevelt in the 1944 election.
For several years, he wrote a newspaper column on political issues and considered running for the U.S. Senate in 1946, representing his home state of Wisconsin (a seat that was ultimately won by Joseph McCarthy).
Welles' name and political activities are reported on pages 155-157 of Red Channels, the anti-Communist publication that, in part, fueled the already flourishing Hollywood Blacklist. He was in Europe during the height of the Red Scare, thereby nullifying more reasons for the Hollywood establishment to ostracize him.
In 1970, Welles narrated (but did not write) a satirical political record on the administration of President Richard Nixon titled The Begatting of the President.
Death and tributes
On the evening of October 9, 1985, Welles recorded his final interview on the syndicated TV program, The Merv Griffin Show, appearing with biographer Barbara Leaming. "Both Welles and Leaming talked of Welles's life and the segment was a nostalgic interlude," wrote biographer Frank Brady.:590–591 Welles returned to his house in Hollywood and worked into the early hours typing stage directions for the project he and Gary Graver were planning to shoot at UCLA the following day. Welles died sometime on the morning of October 10, following a heart attack.:453 He was found by his chauffeur at around 10 a.m.; the first of Welles's friends to arrive was Paul Stewart.:295–297
Welles was cremated by prior agreement with the executor of his estate, Greg Garrison.:592 A successful television producer, Garrison had encouraged Welles to make guest appearances on TV in the 1970s, which proved so lucrative that Welles was able to pay off a portion of the taxes he owed the IRS.:549–550 Garrison and Welles were first acquainted in 1946, during the Broadway production of Around the World, for which Garrison was a stagehand.:470–471
A brief private funeral took place at Cunningham and O'Connor in Hollywood, the mortuary where the visitation for John Ford had taken place. The service was attended by Paola Mori and Welles's three daughters — the first time they had ever been together. Only a few close friends were invited: Garrison, Graver, Roger Hill:298 and Prince Alessandro Tasca di Cuto. Chris Welles Feder later described the funeral as an awful experience.:1–9
Within days of Welles's death Richard Wilson and other friends began to organize a public memorial tribute:593 which took place November 2, 1985, at the Directors Guild of America Theater in Los Angeles. Host Peter Bogdanovich introduced speakers including Charles Champlin, Geraldine Fitzgerald, Greg Garrison, Charlton Heston, Roger Hill, Henry Jaglom, Arthur Knight, Oja Kodar, Barbara Leaming, Janet Leigh, Norman Lloyd, Dan O'Herlihy, Patrick Terrail and Robert Wise.:594:299–300
In 1987 the cremated remains of Welles and Mori (killed in a 1986 car crash) were taken to Ronda, Spain, and buried in an old well covered by flowers on the rural estate of a longtime friend, retired bullfighter Antonio Ordóñez.:298–299[i][j]
Welles's reliance on self-production meant that many of his later projects were filmed piecemeal or were not completed. Welles financed his later projects through his own fundraising activities. He often also took on other work to obtain money to fund his own films.
In the mid-1950s, Welles began work on Don Quixote, initially a commission from CBS television. Welles expanded the film to feature length, developing the screenplay to take Quixote and Sancho Panza into the modern age. Filming stopped with the death of Francisco Reiguera, the actor playing Quixote, in 1969. Orson Welles continued editing the film into the early 1970s. At the time of his death, the film remained largely a collection of footage in various states of editing. The project and more importantly Welles's conception of the project changed radically over time. A version of the film was created from available fragments in 1992 and released to a very negative reception. A version Oja Kodar supervised, with help from Jess Franco, assistant director during production, was released in 2008 to mixed reactions. Frederick Muller - the film editor for The Trial, Chimes at Midnight and the CBS Special "Orson Bag" was fortunate to work on editing three reels of the original, unadulterated version - was asked for his opinion in 2013 from a journalist of Time Out, his reply was he felt that if released without image re-editing but with the addition of ad hoc sound and music it probably would have been rather successful.
The Merchant of Venice
In 1969, Welles was given another TV commission to film a condensed adaptation of The Merchant of Venice.:XXXIV Although Welles had actually completed the film by 1970 the finished negative was later mysteriously stolen from his Rome production office.:234
The Other Side of the Wind
In 1970, Welles began shooting The Other Side of the Wind. The film relates the efforts of a film director (played by John Huston) to complete his last Hollywood picture and is largely set at a lavish party. By 1972 the filming was reported by Welles as being "96% complete",:546 though it is likely that Welles had only edited about 40 minutes of the film by 1979.:320 In that year, legal complications over the ownership of the film forced the negative into a Paris vault. In 2004 director Peter Bogdanovich, who acted in the film, announced his intention to complete the production. As of 2009, legal complications over the Welles estate had kept the film from being finished or released.
On October 28, 2014, the Los Angeles-based production company Royal Road Entertainment announced that it had negotiated an agreement, with the assistance of producer Frank Marshall, and would purchase the rights to complete and release The Other Side of the Wind. Bogdanovich and Marshall will complete Welles's nearly finished film in Los Angeles, aiming to have it ready for screening May 6, 2015 — the 100th anniversary of Welles's birth. Royal Road Entertainment and German producer Jens Koethner Kaul acquired the rights held by Les Films de l'Astrophore and the late Mehdi Boushehri. They reached an agreement with Oja Kodar, who inherited Welles's ownership of the film, and Beatrice Welles, manager of the Welles estate.
Some footage is included in the documentaries Working with Orson Welles (1993) and Orson Welles: One Man Band (1995).
Other unfinished films and unfilmed screenplays
- Too Much Johnson, a 1938 comedy film written and directed by Welles. Designed as the cinematic aspect of Welles's Mercury Theatre stage presentation of William Gillette's 1894 comedy, the film was not completely edited or publicly screened. Too Much Johnson was considered a lost film until August 2013 news reports that a pristine print was discovered in Italy in 2008. A copy restored by the George Eastman House museum was scheduled to premiere October 9, 2013, at the Pordenone Silent Film Festival, with a U.S. premiere to follow. A single performance of Too Much Johnson, on 2/2/15, at the Film Forum in NYC, was a great success. Produced by Bruce Goldstein and adapted and directed by Allen Lewis Rickman, it featured the Film Forum Players with live piano.
- Heart of Darkness: Welles's projected first film in 1940, planned in extreme detail and with some test shots filmed. (The footage is now lost.) It was planned to be entirely shot in long takes from the point of view of the narrator, Marlow, who would be played by Welles; his reflection would occasionally be seen in the window as his boat sailed down river. The project was abandoned because it could not be delivered on budget, and Citizen Kane was made instead.:30–33, 355–356
- Santa: In 1941, Welles planned a film to his then partner, the Mexican actress Dolores del Río. The film was adapted from the novel by Mexican writer Federico Gamboa. The film which marked the debut of Dolores del Río in the Mexican Cinema. Welles made a correction of the script in thirteen extraordinary sequences. Unfortunately, the high salary demanded by Del Río threw overboard the project. In 1943, the film finally done with the settings of Welles, led by Norman Foster and starring Mexican actress Esther Fernández.
- The Way to Santiago: In 1941 Welles also planned a Mexican drama with Dolores del Río, which he gave to RKO to be budgeted. The film would a movie version of the same name novel by Calder Marshall. In the story, Dolores del Río would play Elena Medina, "the most beautiful girl in the world", with Welles playing an American who becomes entangled in a mission to disrupt a Nazi plot to overthrow the Mexican government. Welles planned to shoot in Mexico, but the Mexican government had to approve the story, and this never occurred.
- The Life of Christ: In 1941, Welles received the support of Bishop Fulton Sheen for a retelling of the life of Christ to be set in the American West in the 1890s. After filming of Citizen Kane was complete, Welles, Perry Ferguson and Gregg Toland scouted locations in Baja California and Mexico. Welles wrote a screenplay with dialogue from the Gospels of Mark, Matthew and Luke. "Every word in the film was to be from the Bible — no original dialogue, but done as a sort of American primitive," Welles said, "set in the frontier country in the last century." The unrealized project was revisited by Welles in the 1950s when he wrote a second unfilmed screenplay, to be shot in Egypt.:361–362
- It's All True: Welles did not originally want to direct this 1942 documentary on South America, but after its abandonment by RKO, he spent much of the 1940s attempting to buy the negative of his material from RKO, so that he could edit and release it in some form. The footage remained unseen in vaults for decades, and was assumed lost. Over 50 years later, some (but not all) of the surviving material saw release in the 1993 documentary It's All True: Based on an Unfinished Film by Orson Welles.
- Monsieur Verdoux: In 1944, Welles wrote the first-draft script of this film, which he also intended to direct. Charlie Chaplin initially agreed to star in it, but later changed his mind, citing never having been directed by someone else in a feature before. Chaplin bought the film rights and made the film himself in 1947, with some changes (Welles said the gallows scenes were written by Chaplin, but that much of the film was unchanged from his own script). The final film credits Chaplin with the script, "based on an idea by Orson Welles".
- Cyrano de Bergerac: Welles spent around nine months c. 1947-8 co-writing the screenplay for this along with Ben Hecht, a project Welles was assigned to direct for Alexander Korda. He began scouting for locations in Europe whilst filming Black Magic, but Korda was short of money, so sold the rights to Columbia pictures, who eventually dismissed Welles from the project, and then sold the rights on to United Artists, who in turn made a film version in 1950, which was not based on Welles's script.:106–108
- Around the World in Eighty Days: After Welles's elaborate musical stageshow of this Jules Verne novel, encompassing 38 different sets, he began shooting some test footage in Morocco for a film version in 1947. The footage was never edited, funding never came through, and Welles abandoned the project. Nine years later, the stage show's producer Mike Todd made his own award-winning film version of the book.:402
- Moby Dick—Rehearsed: a film version of Welles's 1955 London meta-play, starring Gordon Jackson, Christopher Lee, Patrick McGoohan, and with Welles as Ahab. Using bare, minimalist sets, Welles alternated between a cast of nineteenth-century actors rehearsing a production of Moby Dick, with scenes from Moby Dick itself. Kenneth Williams, a cast member who was apprehensive about the entire project, recorded in his autobiography that Welles's dim, atmospheric stage lighting made some of the footage so dark as to be unwatchable. The entire play was filmed, but is now presumed lost. This was made during one weekend at the Hackney Empire theatre.
- Histoires extraordinaires: The producers of this 1968 anthology film, based on short stories by Edgar Allan Poe, announced in June 1967 that Welles would direct one segment based on both "Masque of the Red Death" and "The Cask of Amontillado" for the omnibus film. Welles withdrew in September 1967 and was replaced. The script, written in English by Welles and Oja Kodar, is in the Filmmuseum Munchen collection.
- One-Man Band: This Monty Python-esque spoof in which Welles plays all but one of the characters (including two characters in drag), was made around 1968-9. Welles intended this completed sketch to be one of several items in a television special on London. Other items filmed for this special – all included in the "One Man Band" documentary by his partner Oja Kodar – comprised a sketch on Winston Churchill (played in silhouette by Welles), a sketch on peers in a stately home, a feature on London gentlemen's clubs, and a sketch featuring Welles being mocked by his snide Savile Row tailor (played by Charles Gray).
- Treasure Island: Welles wrote two screenplays for this in the 1960s, and was eager to seek financial backing to direct it. Eventually, his own screenplay (under the pseudonym of O.W. Jeeves) was further rewritten, and formed the basis of the 1972 film version directed by John Hough, in which Welles played Long John Silver.
- The Deep: An adaptation of Charles Williams' Dead Calm. The picture was entirely set on two boats and shot mostly in close-ups, and was filmed off the coasts of Yugoslavia and the Bahamas, between 1966 and 1969, with all but one scene completed. Originally planned as commercially viable thriller, to show that Welles could make a popular, successful film. It was put on hold in 1970 when Welles worried that critics would not respond favourably to this film as his theatrical follow-up to the much-lauded Chimes at Midnight, and Welles focused instead on F for Fake. It was abandoned altogether in 1973 due to the death of its star Laurence Harvey.
- Dune: An early attempt at adapting Frank Herbert's sci-fi novel Dune by Chilean film director Alejandro Jodorowsky was to star Welles as the evil Baron Vladimir Harkonnen, whom Jodorowsky had personally chosen for the role. However, the planned film never advanced past pre-production.
- Saint Jack. In 1978 Welles was lined up by his long-time protégé Peter Bogdanovich (who was then acting as Welles's de facto agent) to direct this adaptation of the 1973 Paul Theroux novel about an American pimp in Singapore. Hugh Hefner and Bogdnovich's then-partner Cybill Shepherd were both attached to the project as producers, with Hefner providing finance through his Playboy productions. However, both Hefner and Shepherd became convinced that Bogdanovich himself would be a more commercially viable director than Welles, and insisted that Bogdanovich take over. Since Bogdanovich was also in need of work after a series of box office flops, he agreed. When the film was finally made in 1979 by Bogdanovich and Hefner (but without Welles or Shepherd's participation), Welles felt betrayed and according to Bogdanovich the two "drifted apart a bit".
- Filming The Trial: After the success of his 1978 film Filming Othello made for West German television, and mostly consisting of a monologue to the camera, Welles began shooting scenes for this follow-up film, but never completed it.:253 What Welles did film was an 80-minute question-and-answer session in 1981 with film students asking about the film. The footage was kept by Welles's cinematographer Gary Graver, who donated it to the Munich Film Museum, which then pieced it together with Welles's trailer for the film, into an 83-minute film which is occasionally screened at film festivals.
- The Big Brass Ring: This 1982 screenplay, written by Welles with Oja Kodar was adapted and filmed by director George Hickenlooper in partnership with writer F.X. Feeney. Both the Welles script and the 1999 film center on a U.S. Presidential hopeful in his 40s, his elderly mentor—a former candidate for the Presidency, brought low by homosexual scandal—and the Italian journalist probing for the truth of the relationship between these men. During the last years of his life, Welles struggled to get financing for the planned film; however, his efforts at casting Jack Nicholson, Robert Redford, Warren Beatty, Clint Eastwood, Burt Reynolds and Paul Newman as the main character were unsuccessful. All of the actors turned down the role for various reasons.
- Cradle Will Rock: Welles planned on writing and directing a film about the 1937 staging of The Cradle Will Rock. Rupert Everett was slated to play the young Welles. However, Welles was unable to acquire funding. Tim Robbins later directed a similar film, but it was not based on Welles's script.
- King Lear: At the time of his death, Welles was in talks with a French production company to direct a film version of the Shakespeare play, in which he would also play the title role.
- An adaptation of Vladimir Nabokov's novel Ada for which Welles flew to Paris to discuss the project personally with the Russian author.
Awards and honors
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- 1933: Welles's stage production of Twelfth Night for the Todd School for Boys received first prize:330 from the Chicago Drama League after competition at the Century of Progress Exposition of 1933, the Chicago World's Fair.[k]
- 1942: Citizen Kane was nominated for numerous prizes at the 1941 Academy Awards, including Best Picture, Best Director and Best Actor in a Leading Role. The only Oscar won, however, was Best Original Screenplay, which Welles shared with Herman J. Mankiewicz.
- 1943: The Magnificent Ambersons was nominated for four 1942 Academy Awards, including Best Picture.
- 1945: On May 24, 1945, the Interracial Film and Radio Guild honored Welles for his contributions to interracial harmony through radio. Presented at the Shrine Auditorium in Los Angeles, the guild's second annual awards ceremony also honored Eddie "Rochester" Anderson, Norman Corwin, Bing Crosby, Bette Davis, Lena Horne, James Wong Howe, Earl Robinson, Nathan Straus and Miguel C. Torres.:214–215
- 1947: The Stranger was nominated for the Golden Lion at the Venice Film Festival.
- 1952: Othello won the Palme d'Or at the 1952 Cannes Film Festival.
- 1959: For their ensemble work in Compulsion, Orson Welles, Bradford Dillman and Dean Stockwell shared the prize for Best Actor at the Cannes Film Festival.:425
- 1968: Welles was nominated for Best Foreign Actor in a Leading Role at the 21st British Academy Film Awards for his performance in Chimes at Midnight.
- 1970: Welles was given the first Career Golden Lion award in the Venice Film Festival.
- 1970: Welles was given an Academy Honorary Award for "superlative and distinguished service in the making of motion pictures." Welles did not attend the ceremony: "I didn't go because I feel like a damn fool at those things. I feel foolish, really foolish. ... I made piece of film and said that I was in Spain, and thanked them.":511
- 1975: Welles was given the American Film Institute Lifetime Achievement Award.
- 1976: Grammy Award for Best Spoken Word or Non-Musical Album for "Great American Documents", shared with Helen Hayes, Henry Fonda and James Earl Jones.
- 1978: Welles was presented with the Los Angeles Film Critics Association Career Achievement Award.
- 1979: Grammy Award for Best Spoken Word or Non-Musical Album for the original motion picture soundtrack for Citizen Kane.
- 1979: Welles was inducted into the National Radio Hall of Fame.
- 1982: In Paris on February 23, 1982, President François Mitterrand presented Welles with the Order of Commander of the Légion d'honneur, the highest civilian decoration in France.:449:207
- 1982: Welles was nominated for Best Supporting Actor in a Motion Picture at the Golden Globe Awards for his role in Butterfly, the same role that had him nominated for the Golden Raspberry Award for Worst Supporting Actor, won by Ed McMahon in the same film, which also won the award for Worst Picture.
- 1982: Welles won a Grammy Award for Best Spoken Word Recording for his role on Donovan's Brain.
- 1983: Welles was made a member of the Académie des Beaux-Arts.:508
- 1983: Welles was awarded a Fellowship of the British Film Institute in 1983.
- 1984: In 1984 the Directors Guild of America presented Welles with its greatest honor, the D. W. Griffith Award.
- 1993: The 1992 audiobook version of This is Orson Welles by Welles and Peter Bogdanovich was nominated for a Grammy Award for Best Spoken Word or Non-Musical Album.
- 1998: In 1998 and 2007, the American Film Institute ranked Citizen Kane as the greatest American movie. These other Welles films were nominated for the AFI list: The Magnificent Ambersons (1942, director/producer/screenwriter); The Third Man (1949, actor); Touch of Evil (1958, actor/director/screenwriter); and A Man for All Seasons (1966, actor).
- 1999: The American Film Institute ranked Welles as the 16th Greatest Male Star of All Time.
- 2002: A highly divergent genus of Hawaiian spiders Orsonwelles is named in his honor.
- 2008: A statue of Welles sculpted by Oja Kodar was erected in the city of Split.
- 2013: On February 10, 2013, the Woodstock Opera House in Woodstock, Illinois, dedicated its stage to Welles, honoring the site of his American debut as a professional theatre director.
- 2015: Throughout 2015, numerous festivals and events observed the 100th anniversary of Welles's birth.
|This section needs additional citations for verification. (May 2014)|
- One of the recurring celebrity characters on the influential Canadian sketch comedy TV show Second City Television was John Candy's impersonation of Welles. On SCTV, Candy appeared as Welles in an array of embarrassing commercials, talk shows and other low-budget productions.
- Author Kim Newman has featured Orson Welles as a character in several stories from his Anno Dracula series.
- Although the character Brain from the animated series Animaniacs and Pinky and the Brain was not initially modeled after Welles, Maurice LaMarche was shown a picture of Brain and tasked with finding a voice for the character. LaMarche immediately thought of Welles and decided to do his Welles impersonation. LaMarche also played Welles in The Critic (where his "later work", ads for such products as 'Mrs. Pell's Fishsticks', is referenced) and in the Futurama episode "Lrrreconcilable Ndndifferences", in which he performs a War of the Worlds-like play.
- In Tim Burton's 1994 film Ed Wood, the character Orson Welles (played by Vincent D'Onofrio and dubbed by Maurice LaMarche) makes a brief "cameo appearance", giving advice to director Edward D. Wood, Jr. who idolises Welles. D'Onofrio would again portray Welles in the 2005 30-minute film Five Minutes Mr. Welles concerning Welles's role in the film The Third Man.
- In Peter Jackson's 1994 film Heavenly Creatures, the character Pauline Parker (played by Melanie Lynskey) attempts to include a picture of Orson Welles in the pantheon of beauty Juliet Hulme (Kate Winslet) has crafted, but is rebuffed.
- The 1996 film The Battle Over Citizen Kane, which chronicles the conflict between Welles and Hearst, was nominated for an Academy Award for Best Documentary Feature.
- A 1999 HBO docudrama, RKO 281, tells the story of the making of Citizen Kane, starring Liev Schreiber as Orson Welles.
- Tim Robbins's 1999 film Cradle Will Rock chronicles the process and events surrounding Welles and John Houseman's production of the 1937 musical by Marc Blitzstein. In it, Welles is played by actor Angus MacFadyen.
- Playwright and actor Austin Pendleton wrote the 2000 play Orson's Shadow about Welles and his collaboration with Laurence Olivier. It deals with the time that Welles directed Laurence Olivier in a production of Eugène Ionesco's play Rhinoceros.
- In Michael Chabon's 2000 Pulitzer Prize-winning novel The Amazing Adventures of Kavalier & Clay, the three main characters meet Orson Welles and attend the premiere of Citizen Kane, then stay up all night discussing the film's impression upon them afterwards.
- The film Fade to Black (2006) is a fictional thriller based on Welles's 1948 journey to Rome to star in the movie Black Magic.
- Me and Orson Welles (2009), based on Robert Kaplow's novel, stars Zac Efron as a teenager who convinces Welles (Christian McKay) to cast him in Welles's 1937 production of Julius Caesar. McKay's performance is considered the best portrayal of Welles on screen, described by film critic Mark Kermode as 'uncanny'. McKay was nominated for a BAFTA for his performance.
- In 2012, citizens of Woodstock, Illinois, and Wellesnet, the Orson Welles web resource, began petitioning the United States Postal Service to issue a stamp in 2015 to honor Orson Welles on the 100th anniversary of his birth.
- In 2015, Comedic Actor Jack Black portrayed Welles in the sketch comedy show Drunk History.
- In 2015, the documentary Magician: The Astonishing Life and Work of Orson Welles, about the life and work of Welles, was released in the UK to critical acclaim.
- In 2015, the 2000 play Orson's Shadow had it's European premiere, at the Southwark Playhouse in London, England.
- Richard H. Welles had changed the spelling of his surname by the time of the 1900 Federal Census, when he was living at Rudolphsheim, the 1888 Kenosha mansion built by his mother Mary Head Wells and her second husband, Frederick Gottfredsen.
- Although many sources cite Beatrice Ives Welles's year of birth as 1883, her grave marker reads 1881.
- Pre-production materials for Nero Wolfe (1976) are contained in the Orson Welles – Oja Kodar Papers at the University of Michigan.
- Lochte interviewed Rex Stout May 27, 1967.:479–480
- Columnist Marilyn Beck reported that NBC's Nero Wolfe series was planned as a starring vehicle for Welles until he decided that he wanted NBC to change the concept from a one-hour weekly series to a series of 90-minute specials, and that he wanted his scenes filmed at his Los Angeles home.
- Some 20 years later, the executive producer of the A&E Nero Wolfe series, Michael Jaffe, said Welles had refused to work with Paramount Television producers, who wanted to "make Nero Wolfe more human.":87–88
- Paul Masson's spokesman since 1979, Welles parted company with Paul Masson in 1981, and in 1982 he was replaced by John Gielgud.
- For example, while bantering with Lucille Ball on a 1944 broadcast of The Orson Welles Almanac before an audience of U.S. Navy service members, Welles says, "My great-granduncle was Gideon Welles, Secretary of the Navy in Lincoln's cabinet". (Lucille Ball AFRS broadcast, May 3, 1944, 2:42.)
- A photograph of the grave site appears opposite the title page of Orson Welles on Shakespeare: The W.P.A. and Mercury Theatre Playscripts, edited by Richard France. France notes the inscription on the plaque: "Ronda. Al Maestro de Maestros."
- The gravesite is not accessible to the public but can be seen in Kristian Petri's 2005 documentary, Brunnen (The Well),:298–299 which is about Welles's time in Spain.
- "Amateur dramatic groups from all sections of Metropolitan Chicago will compete this summer at Enchanted Island, World's Fair fairyland for children at A Century of Progress, for a silver cup to be awarded by the Chicago Drama League, Miss Anna Agress, director of the Children's Theatre on the Island, has announced. Twenty-four groups, ranging from Thespians of years' experience to child actors, are on the schedule. Although most of the program will be played during July and August, the contest opened several days ago with the Todd School for Boys, of Woodstock, Ill., presenting Shakespeare's Twelfth Night. The Todd boys were the 1932 cup winners."
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- Rosenbaum, Jonathan, Discovering Orson Welles. Berkeley and Los Angeles, California: University of California Press, 2007 ISBN 0-520-25123-7
- "List-o-Mania, or, How I Learned to Stop Worrying and Love American Movies". Jonathan Rosenbaum. June 25, 1998. Retrieved 2015-05-09.
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- "TSPDT – The 1,000 Greatest Films: The Top 250 Directors". They Shoot Pictures, Don't They? Theyshootpictures.com. January 2012. Retrieved July 27, 2015.
- Christey, Jaime N. "Orson Welles: An Incomplete Education". Senses of Cinema at the Wayback Machine (archived February 9, 2010)
- Higham, Charles, Orson Welles: The Rise and Fall of an American Genius. New York: St. Martin's Press, 1985 ISBN 0-312-31280-6
- Ancestry.com, Illinois, Deaths and Stillbirths Index 1916–1947 [database online], Provo, Utah. Ancestry.com Operations 2011. Retrieved 2014-09-29.
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- "Chicago Musicians Mourn Passing of Mrs. Welles". Chicago Tribune, May 13, 1924, page 10. Retrieved 2014-10-06.
- "The Gordon Collection of String Music". University of Rochester Library Bulletin, Winter 1952. Retrieved 2014-08-31.
- Brady, Frank, Citizen Welles: A Biography of Orson Welles. New York: Charles Scribner's Sons 1989 ISBN 0-684-18982-8
- Tarbox, Todd, Orson Welles and Roger Hill: A Friendship in Three Acts. Albany, Georgia: BearManor Media, 2013, ISBN 1-59393-260-X.
- Leaming, Barbara, Orson Welles, A Biography. New York: Viking, 1985 ISBN 0-670-52895-1
- France, Richard, The Theatre of Orson Welles. Lewisburg, Pennsylvania: Bucknell University Press, 1977 ISBN 0-8387-1972-4
- Feder, Chris Welles, In My Father's Shadow: A Daughter Remembers Orson Welles. Chapel Hill, North Carolina: Algonquin Books, 2009, ISBN 9781565125995
- "When Orson Welles was recommended to Cornell College". Cornell College. May 6, 2015. Retrieved 2015-05-09.
- Hill, Roger, One Man's Time and Chance, a Memoir of Eighty Years 1895 to 1975. Privately printed, 1977. Woodstock Public Library collection, digitized by Illinois State Library.
- "Close Up: Orson Welles, part 1". Interview by Bernard Braden, Canadian Broadcasting Corporation, February 25, 1960 (22:58–23:12). Retrieved 2015-05-09.
- Mac Liammóir, Micheál, All For Hecuba: An Irish Theatrical Biography. London: Methuen & Co. Ltd., 1946, ISBN 9780828311373
- "Romeo and Juliet". Internet Broadway Database. Retrieved 2014-04-27.
- Houseman, John, Run-Through: A Memoir. New York: Simon & Schuster, 1972, ISBN 0-671-21034-3
- "Book review, In My Father's Shadow: A Daughter Remembers Orson Welles". Joseph McBride, Bright Lights Film Journal, November 2009. Retrieved November 10, 2013.
- Flanagan, Hallie (1965). Arena: The History of the Federal Theatre. New York: Benjamin Blom, reprint edition . OCLC 855945294.
- Wood, Bret, Orson Welles: A Bio-Bibliography. Westport, Connecticut: Greenwood Press, 1990 ISBN 0-313-26538-0
- Collins, Charles (August 30, 1936). "'Macbeth' as Negro Play Comes to Great Northern Theater". Chicago Tribune. Retrieved 2015-02-17.
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- "Macbeth (June 10, 1999). Library of Congress, American Memory. Retrieved August 25, 2009
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- Callow, Simon (1995). Orson Welles: The Road to Xanadu. Penguin. p. 145. ISBN 0-670-86722-5.
- "No title". Syracuse Herald. August 27, 1936. p. 12.
- "All-Negro Cast to Produce Macbeth". The Olney Enterprise. August 14, 1936.
- Cotten, Joseph, Vanity Will Get You Somewhere. San Francisco: Mercury House, 1987 ISBN 0-916515-17-6 page 34
- "Aaron Copland". Musicacademyonline.com. Retrieved March 20, 2012.
- Orson Welles on the Air: The Radio Years. New York: The Museum of Broadcasting, catalogue for exhibition October 28–December 3, 1988.
- Callow, Simon, Orson Welles: Hello Americans. New York: Viking Penguin 2006 ISBN 0-670-87256-3
- "The Shadow". RadioGOLDINdex. Retrieved January 12, 2014.
- Campbell, W. Joseph (2010). Getting It Wrong: Ten of the Greatest Misreported Stories in American Journalism. University of California Press. ISBN 978-0-520-26209-6.
- "The spoof in Georgia: Evocative of the ‘War of the Worlds?". wordpress.com. Retrieved May 23, 2010.
- "The Myth of The War of the Worlds Panic". slate.com. Retrieved October 31, 2013.
- "evidence of the decadence and corrupt condition of democracy"—Hand, Richard J. (2006). Terror on the Air!: Horror Radio in America, 1931–1952. Jefferson, North Carolina: Macfarlane & Company. p. 7. ISBN 0-7864-2367-6.
- "Learn Out Loud". Learn Out Loud. Retrieved March 30, 2010.
- "Swiss Family Robinson". AFI Catalog of Feature Films. Retrieved March 1, 2014.
- McMahon, Thomas, "Orson Welles", Authors & Artists for Young Adults: Vol. 40. Michigan: Gale Research, 2001 ISBN 0787646733
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- "The Magnificent Ambersons". The American Film Institute Catalog of Motion Pictures. Retrieved 2014-08-23.
- Dunning, John, On the Air: The Encyclopedia of Old-Time Radio. New York: Oxford University Press, Inc., 1998 ISBN 978-0-19-507678-3 hardcover; revised edition of Tune In Yesterday (1976)
- "Journey into Fear". The American Film Institute Catalog of Motion Pictures. Retrieved 2014-08-23.
- Benamou, Catherine L., It's All True: Orson Welles's Pan-American Odyssey. Berkeley: University of California Press, 2007 ISBN 978-0-520-24247-0
- Roosevelt, Franklin D., "Executive Order 8840 Establishing the Office of Coordinator of Inter-American Affairs", July 30, 1941. Online by Gerhard Peters and John T. Woolley, The American Presidency Project, University of California, Santa Barbara
- McBride, Joseph, What Ever Happened to Orson Welles? A Portrait of an Independent Career. Lexington, Kentucky: University Press of Kentucky, 2006, ISBN 0-8131-2410-7
- Wilson, Richard, "It's Not Quite All True". Sight & Sound, Volume 39 Number 4, Autumn 1970.
- Benamou, Catherine, "It's All True". Barnard, Tim, and Peter Rist (eds.), South American Cinema: A Critical Filmography, 1915-1994. New York: Garland Publishing, Inc., 1996; Austin: University of Texas Press, 1998 ISBN 978-0-292-70871-6
- Teachout, Terry, Duke: A Life of Duke Ellington. New York: Gotham Books, 2013 ISBN 978-1-592-40749-1
- Barnett, Vincent L. "Cutting Koerners: Floyd Odlum, the Atlas Corporation and the Dismissal of Orson Welles from RKO". Film History: An International Journal, Volume 22, Number 2, 2010, pp.182–198.
- Estrin, Mark W., and Orson Welles. Orson Welles: Interviews. Jackson: University Press of Mississippi, 2002. ISBN 1578062098
- Detroit Free Press, August 29, 1942
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- "Bureau of Labor Statistics CPI Inflation Calculator". United States Department of Labor. Retrieved 2014-08-24.
- "Bond Show Nets 10-Million Order". Detroit Free Press (Associated Press), August 31, 1942
- Des Moines Tribune, August 29, 1942
- The Washington Post, August 29, 1942
- "7 Hour Radio Show to Push War Bonds". The New York Times, August 29, 1942
- 100 Million in Bonds Already Sold by Radio for Gov't; Blue Net Alone Sold 16 Million. Billboard, September 12, 1942. Retrieved 2014-08-24.
- "More on War Bond Selling". Broadcasting, August 31, 1942, page 50.
- Barnouw, Erik (ed.), Radio Drama in Action: 25 Plays of a Changing World. New York: Farrar & Rinehart, 1945. Written by Orson Welles in collaboration with Robert Meltzer and Norris Houghton, the radio play Columbus Day appears on pp. 4–13.
- Hickerson, Jay, The Ultimate History of Network Radio Programming and Guide to All Circulating Shows. Hamden, Connecticut, second edition December 1992, page 303
- Charvet, David, "Orson Welles and The Mercury Wonder Show". Magic, An Independent Magazine for Magicians, Volume 2 Number 12, August 1993
- Wheldon, Wynn Pierce, "Orson Welles the Magician". Genii, The Conjurors' Magazine, Volume 63 Number 2, February 15, 2000
- Welles Dishes Magic, Sawdust at Mercury Bow. Abbott, Sam, Billboard, August 14, 1943, page 4. Retrieved 2014-06-10.
- Leaming, Barbara, If This Was Happiness: A Biography of Rita Hayworth. New York: Viking, 1989 ISBN 0-670-81978-6
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- "The Jack Benny Program for Grape-Nuts and Grape-Nuts Flakes". RadioGOLDINdex. Retrieved 2014-08-24.
- "Orson Welles Almanac—Part 1". Internet Archive. Retrieved 2014-08-24.
- "Orson Welles Almanac—Part 2". Internet Archive. Retrieved 2014-08-24.
- Bigard, Barney, and Martyn, Barry (ed.), With Louis and the Duke: The Autobiography of a Jazz Clarinetist. New York: Oxford University Press, 1986. ISBN 0-19-520637-1
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- "Opening Fifth War Loan Drive, June 12, 1944". Franklin D. Roosevelt Presidential Library and Museum. Retrieved 2014-08-24.
- "Brief History of World War Two Advertising Campaigns War Loans and Bonds". Duke University Libraries. Retrieved 2014-08-24.[dead link]
- "FDR Preparing Radio Address". The Miami News (United Press), September 21, 1944. Retrieved 2014-09-21.
- "Fenway Park is spectacle of color as leaders rally for FDR". Ainley, Leslie G., Boston Globe, November 5, 1944. Retrieved 2014-09-21.
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- "This Is My Best". Internet Archive. Retrieved 2014-09-21.
- "Presidential Coverage Wins High Praise". Broadcasting April 23, 1945, page 68.
- "Radio Handles Tragic News with Dignity". Broadcasting, April 16, 1945, page 18.
- "Local Interest Coverage Aim of Independents at Conference". Broadcasting, April 2, 1945, page 20.
- Display advertisement, "What America's Youngest News Network Is Doing About the Greatest News Story of Our Time". American Broadcasting Company, Inc., The Blue Network. Broadcasting, April 30, 1945, pp. 22–23
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- Wilson, Kristi M.; Crowder-Taraborrelli, Tomás F. (eds.). Film and Genocide. Madison, Wisconsin: The University of Wisconsin Press. p. 11. ISBN 9780299285647.
- Barker, Jennifer L. (2012). "Documenting the Holocaust in Orson Welles's The Stranger". In Wilson, Kristi M.; Crowder-Taraborrelli, Tomás F. Film and Genocide. Madison, Wisconsin: The University of Wisconsin Press. pp. 55–58. ISBN 9780299285647.
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- "Orson Welles doth foully slaughter Shakespeare in a dialect version of his "Tragedy of Macbeth" — or so sayeth LIFE magazine". Wellesnet. Retrieved September 1, 2011.
- Williams, Tony. "Macbeth". Senses of Cinema. Retrieved September 1, 2011.
- Carol Reed biography
- King Lear at the Internet Movie Database; DVD Talk review February 9, 2010 (Retrieved December 29, 2011)
- "I Love Lucy (1956–57), 'Lucy Meets Orson Welles'". The Classic TV Archive. Retrieved 2015-04-09.
- "Tomorrow". RadioGOLDINdex. Retrieved 2014-09-03.
- "Tomorrow". Internet Archive. Retrieved 2014-09-03.
- Heston, Charlton, In the Arena: An Autobiography. New York: Simon & Schuster, 1995, ISBN 9780684803944
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- "Orson Welles – Oja Kodar Papers 1910–1998 (Box 17)". University of Michigan Special Collections Library. Retrieved 2015-05-09.
- Kleiner, Dick (December 30, 1976). "No title". Oakland Tribune.
- Lochte, Dick (January 30, 1977). "TV finally tunes in Nero Wolfe". Los Angeles Times.
- Smith, Liz (March 14, 1977). "People". The Baltimore Sun.
Paramount bought the entire set of Nero Wolfe stories for Orson Welles, who is enjoying a renaissance of popularity in Hollywood and the world.
- McAleer, John J. (1977). Rex Stout: A Biography. Boston: Little, Brown and Company. ISBN 9780316553407.
- Gilroy, Frank D., I Wake Up Screening. Carbondale, Illinois: Southern Illinois University Press, 1993, ISBN 0-8093-1856-3 p. 147
- Boyer, Peter J., "NBC Fall Schedule," Associated Press, March 24, 1980
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- Associated Press (October 26, 1982). "People in the News".
- Bronson, Gail, "In Advertising, Big Names Mean Big Money." U.S. News & World Report, July 4, 1983
- Orson Welles's other works at the Internet Movie Database. The "probably" tag is still in use today.
- Salmans, Sandra, "Many Stars are Playing Pitchmen – With No Regrets." The New York Times, May 3, 1981
- Biography for Orson Welles at the Internet Movie Database
- Magnum, P.I., episode "Paper War", 1986
- "Orson Welles - I Know What It Is To Be Young (But You Don't Know What It Is To Be Old) (CD) at Discogs". Discogs.com. June 25, 1996. Retrieved December 21, 2012.
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- "Orson Welles is Divorced by Wife". Associated Press (Evening Independent), February 1, 1940. Retrieved February 7, 2014.
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- Ramón (1997),vol. 3 p.11
- Ramón (1997),vol. 3 p.11
- name="Ramón 1997,vol. 3 p.11"
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- "Straus Given Trophy". Broadcasting, June 4, 1945, page 24.
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- Guide to the Orson Welles Materials, Lilly Library, Indiana University
- Finding Aid for the Orson Welles – Oja Kodar Papers 1910–1998 (bulk 1965–1985), Special Collections Library, University of Michigan
- Finding Aid for the Richard Wilson – Orson Welles Papers 1930–2000 (bulk 1930–1991), Special Collections Library, University of Michigan
- Finding Aid for the Orson Welles – Chris Welles Feder Collection 1931–2009, Special Collections Library, University of Michigan
- Finding Aid for the Orson Welles – Alessandro Tasca di Cutò Papers 1947–1995, Special Collections Library, University of Michigan
|Wikimedia Commons has media related to Orson Welles.|
|Wikiquote has quotations related to: Orson Welles|
- Wellesnet: The Orson Welles Web Resource
- Wellesnet messageboard
- The Ultimate Orson Welles Timeline
- Orson Welles at the Internet Movie Database
- Orson Welles at AllMovie
- Orson Welles at the TCM Movie Database
- Orson Welles at the Internet Broadway Database
- Orson Welles – The One Man Band (1995)
- Orson Welles bibliography
- Mercury Theatre on the Air
- The Unseen Welles at the Wayback Machine (archived October 27, 2009)
- Orson Welles: A Man of a Certain Ego by Rodger Jacobs at Pop Matters
- "Orson Welles," annotated bibliography at Oxford Bibliographies Online (Cinema and Media Studies)