In 1937, Radio and Broadway singer Orson Welles found himself in a furious brawl with Ernest Hemingway. Imagine: a baby face matador against a particularly high-powered bull.
Welles, the future "Citizen Kane" director, had come to a New York studio to tell a documentary about the Spanish Civil War of the future Nobel laureate Hemingway. Then, just 22, Welles offered a few changes to the script. Hemingway, considering his prose unassailable gold, went code red. Angry words were thrown around. Both men grabbed chairs to swing the other in the sound booth.
According to Josh Karp's book 2015, "Orson Welles's Last Movie: Making the Other Side of the Wind" finally cooled down and Hemingway and Welles split a bottle of whiskey. But Hemingway – the brooding embodiment of the shortened masculinity of the twentieth century – was imprinted on the imagination of the director. Decades later, when Welles began dubbing his own tumultuous career with a final comeback movie, his screenplay focused on a hard-drinking, pistol-swinging safari suit that sported an alpha male raised directly from Hemingway's life story.
The film "The Other Side of the Wind" was filmed by Welles between 1970 and 1977. He is supposed to portray a daredevil mix of cinematographic styles, provocative sexual content and a story from Welles' own career and life as a Hollywood legend – but most of all because no one has really seen it.
Welles last project was hit by financial difficulties. After Welles' death in 1985, he was prosecuted in his closest circle over the rights to the film. The footage ended up in a Parisian vault, Vanity Fair said.
But now Welles & # 39; Lost Movie is about to be released, 48 years after the famous director began filming. Financially revived by streaming giants Netflix, the film will be screened at the Venice Film Festival this weekend. It will be available on Netflix on November 2nd.
On Wednesday, the first trailer for the film was released, which sparked excitement in the movie world about the end product of one of the true greats of the industry.
Until 1970, Welles had spent decades mimicking the artistic success of his debut "Citizen Kane". Karp said after living in Europe for years, the director returned to Hollywood just to distance himself from a younger race of edgier filmmakers. He invented a film about an aging director who returned to Hollywood after years of his life in Europe, only to keep pace with a younger generation of grosser filmmakers.
The whole movie would take place in the course of a single day – the last day of the director's life.
"We'll do it without a script," Welles once told a group of potential financiers, Karp wrote. "I know the whole story …. But I will find the actors in every situation, tell them what happened up to that moment … and I think they will find what is true and inevitable."  Welles began shooting in shots. Karp wrote that Welles rented the MGM back home for only $ 200 because he pretended his team to be UCLA film students. The director spun for three years before playing his main character and eventually playing the famous Hollywood director John Huston for his macho director. Using a director whose own life also reflected the character of the film, Welles provided an additional metafictional level around the project.
"It's a movie about a bastard director," director Huston told Karp. "It's about us, John, it's a movie about us."
But money was a constant problem for the project. When he wrote this week in Deadline, Peter Bart noticed that a Spanish financier had disappeared. The family of the Shah of Iran then joined, but when the leadership of this country in the Iranian revolution in 1979 skyrocketed, this source of money was dried up.
Until his death, Welles fought to get funding for the film's completion. After the death of the director, the footage of "The Other Side of the Wind," according to Vanity Fair was the subject of decades of legal disputes. The rights were fought by Welles' daughter Beatrice, a European production company, and Oja Kodar, the Croatian actress who was a partner at the time of the death of Welles and who co-wrote the script with the director.
However, all these issues were resolved in March 2017 when Netflix took over post-production financing.
"This is a place where we can help from a purely cinematic perspective," said Ian Bricke, Netflix's director of content acquisition, to Vanity Fair Kann. "This seemed to be an opportunity to use our greatness and our public to bring Orson Welles into 115 million homes."
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