Reviews - Specialty Releases


Film Review: Me and Orson Welles

Christian McKay's impersonation of young Orson Welles is sensational in this enjoyable, though slight, historical fiction about a teen who spends a memorable week with the legendary wonder

Nov 19, 2009

-By Kirk Honeycutt


filmjournal/photos/stylus/110299-Welles_Md.jpg

For movie details, please click here.

At the heart of Me and Orson Welles is an uncanny impersonation of the young Orson Welles by English actor Christian McKay. He does resemble the "boy genius" a bit, but more crucially his voice is perfect. He's nailed every vocal nuance that contributed to Welles' acting performances and larger-than-life personality. McKay has previously done a one-man show as Welles and, in a way, this movie is a continuation of that show.

Not that the always surprising Richard Linklater doesn't surround McKay's Orson with a memorable cast that plays real and imaginary characters who were a part of Welles’ Mercury Theatre production of Julius Caesar in 1937. All spark to life quite nicely. Yet you get the feeling that if Orson were to vanish, their life lights would dim precipitously.

There is an audience for this film. Fans of two indie mavericks, Linklater and Welles, for one. The film is a must for lovers and students of the theatre. Ditto that for admirers of terrific acting. But this all adds up to an art-house audience.

The film, written by Holly Gent Palmo and Vince Palmo, derives from Robert Kaplow's carefully researched historical novel about the legendary 1937 New York stage production. Shakespeare's play was pared down to 90 minutes and performed on a bare stage, covered with platforms at various heights, with the actors all wearing Fascist uniforms. It was a critical triumph.

Kaplow and now Linklater's story imagines that a high -chool student, Richard Samuels (Zac Efron), who loves theatre and music, wanders by the restored 41st Street theatre and is hired by an impetuous Welles for a minor though key role.

Through Richard's eyes, we watch the show take shape in its last week, moving from near-catastrophe to artistic victory while its director and star (Welles played Brutus) throws off brilliant though often contradictory ideas, sneaks off to trysts with willing actresses and assistants, continues the radio show that pays the bills and never apologizes for his raging ego.

Richard becomes romantically involved with Welles' ambitious assistant Sonja (Claire Danes), rubs shoulders with the likes of Mercury co-founder John Houseman (Eddie Marsan), future movie star Joseph Cotten (James Tuper) and Mercury star George Coulouris (Ben Chaplin) and sees how art involves a certain amount of artifice. Or B.S., as Sonja puts it.

The film gets off to a halting start with too many talky scenes setting things up. The movie hits its stride as the Richard-Sonja romance heats up and Welles buckles down to business. Efron holds his own against Welles/McKay, which is no easy task. He seems a bit mature for a high-school student, though. He's more a college sophomore.

Danes plays a potentially off-putting role with charm and verve. Other standouts include Kelly Reilly as the show's female star Muriel Brassler and Al Weaver as designer Sam Leve, whose original stage design for Julius Caesar was copied by the filmmakers to insure authenticity.

In the end, though, Linklater's film is about Orson Welles, not the Me. The film does analyze his artistic process and his perhaps already damaged psyche with a degree of hindsight, giving him a speech of self-assessment the real Orson would have been incapable of in 1937.

That the boy wonder became an old-age parody of himself as much through his own self-destructiveness as the misdeeds of others informs every moment of McKay's great performance. The film ends on a note of supreme happiness and hope, though, both for Orson and for Richard. After all, the future still lies ahead.
-Nielsen Business Media


Film Review: Me and Orson Welles

Christian McKay's impersonation of young Orson Welles is sensational in this enjoyable, though slight, historical fiction about a teen who spends a memorable week with the legendary wonder

Nov 19, 2009

-By Kirk Honeycutt


filmjournal/photos/stylus/110299-Welles_Md.jpg

For movie details, please click here.

At the heart of Me and Orson Welles is an uncanny impersonation of the young Orson Welles by English actor Christian McKay. He does resemble the "boy genius" a bit, but more crucially his voice is perfect. He's nailed every vocal nuance that contributed to Welles' acting performances and larger-than-life personality. McKay has previously done a one-man show as Welles and, in a way, this movie is a continuation of that show.

Not that the always surprising Richard Linklater doesn't surround McKay's Orson with a memorable cast that plays real and imaginary characters who were a part of Welles’ Mercury Theatre production of Julius Caesar in 1937. All spark to life quite nicely. Yet you get the feeling that if Orson were to vanish, their life lights would dim precipitously.

There is an audience for this film. Fans of two indie mavericks, Linklater and Welles, for one. The film is a must for lovers and students of the theatre. Ditto that for admirers of terrific acting. But this all adds up to an art-house audience.

The film, written by Holly Gent Palmo and Vince Palmo, derives from Robert Kaplow's carefully researched historical novel about the legendary 1937 New York stage production. Shakespeare's play was pared down to 90 minutes and performed on a bare stage, covered with platforms at various heights, with the actors all wearing Fascist uniforms. It was a critical triumph.

Kaplow and now Linklater's story imagines that a high -chool student, Richard Samuels (Zac Efron), who loves theatre and music, wanders by the restored 41st Street theatre and is hired by an impetuous Welles for a minor though key role.

Through Richard's eyes, we watch the show take shape in its last week, moving from near-catastrophe to artistic victory while its director and star (Welles played Brutus) throws off brilliant though often contradictory ideas, sneaks off to trysts with willing actresses and assistants, continues the radio show that pays the bills and never apologizes for his raging ego.

Richard becomes romantically involved with Welles' ambitious assistant Sonja (Claire Danes), rubs shoulders with the likes of Mercury co-founder John Houseman (Eddie Marsan), future movie star Joseph Cotten (James Tuper) and Mercury star George Coulouris (Ben Chaplin) and sees how art involves a certain amount of artifice. Or B.S., as Sonja puts it.

The film gets off to a halting start with too many talky scenes setting things up. The movie hits its stride as the Richard-Sonja romance heats up and Welles buckles down to business. Efron holds his own against Welles/McKay, which is no easy task. He seems a bit mature for a high-school student, though. He's more a college sophomore.

Danes plays a potentially off-putting role with charm and verve. Other standouts include Kelly Reilly as the show's female star Muriel Brassler and Al Weaver as designer Sam Leve, whose original stage design for Julius Caesar was copied by the filmmakers to insure authenticity.

In the end, though, Linklater's film is about Orson Welles, not the Me. The film does analyze his artistic process and his perhaps already damaged psyche with a degree of hindsight, giving him a speech of self-assessment the real Orson would have been incapable of in 1937.

That the boy wonder became an old-age parody of himself as much through his own self-destructiveness as the misdeeds of others informs every moment of McKay's great performance. The film ends on a note of supreme happiness and hope, though, both for Orson and for Richard. After all, the future still lies ahead.
-Nielsen Business Media
Post a Comment
Asterisk (*) is a required field.
* Author: 
Rate This Article: (1=Bad, 5=Perfect)

*Comment:
 

More Specialty Releases

The Congress
Film Review: The Congress

Part live-action, part cornea-searing animation, this cinematic overload is ambitious but ultimately fatigues as it plays with the intriguing notion of a fading Hollywood star selling rights so her cyberspace avatar can rise to superstardom and stay forever young in virtual reality. Flashy animation and cynical stabs at celebrity culture and movie-studio finagling keep things lively for a while. More »

The Last of Robin Hood
Film Review: The Last of Robin Hood

Serviceable vehicle for a salacious story. More »

Last Weekend
Film Review: Last Weekend

A sort of modern Chekhovian study of family tensions over a country weekend, this indie drama is very pretty to look at and at times disarming, but needed more punch. More »

The Notebook
Film Review: The Notebook

An aloof adaptation of Agota Kristof's best-seller that's technically impressive but precludes audience identification. More »

ADVERTISEMENT



REVIEWS

Sin City: A Dame to Kill For
Film Review: Sin City: A Dame to Kill For

Neither significantly better nor worse than its predecessor, the belated Sin City sequel is more of a repeat, rather than a continuation, of the original. More »

If I Stay
Film Review: If I Stay

Delivers as promised. More »

Player for the Film Journal International website.


ADVERTISEMENT



INDUSTRY GUIDES

» Blue Sheets
FJI's guide to upcoming movie releases, including films in production and development. Check back weekly for the latest additions.

» Distribution Guide
» Equipment Guide
» Exhibition Guide

ORDER A PRINT SUBSCRIPTION

Film Journal International

Subscribe to the monthly print edition of Film Journal International and get the full visual impact of this valuable resource for the cinema business.

» Click Here

SPONSORSHIP OPPORTUNITIES

Learn how to promote your company at the Film Expo Group events: ShowEast, CineEurope, and CineAsia.

» Click Here