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The Other Side of the Wind

The Other Side of the Wind is a 2018 satirical drama film co-written, co-edited, and directed by Orson Welles, and posthumously released in 2018 after 48 years in development. The film stars John Huston, Bob Random, Peter Bogdanovich, Susan Strasberg, and Oja Kodar.[4]

The Other Side of the Wind

  • Americas Film Conservancy
  • Les Films de L'Astrophore
  • Royal Road Entertainment
  • SACI

  • August 31, 2018 (2018-08-31) (Venice)
  • November 2, 2018 (2018-11-02) (United States)

122 minutes[3]

  • English
  • German

  • $2 million (1970 USD)
  • $6 million completion funds (2018 USD)

Intended by Welles to be his directorial comeback amid the incipient New Hollywood era, the film began shooting in 1970 and resumed on and off until 1976. Welles continued to work intermittently on editing the project into the 1980s, but it became embroiled in financial, legal, and political complications which prevented it from being completed. Despite Welles' death in 1985, several attempts were made at reconstructing the unfinished film. In 2014, the rights were acquired by Royal Road and the completed project was overseen by Bogdanovich and producer Frank Marshall.


The story utilizes a film-within-a-film narrative which follows the last day in the life of an aging Hollywood film director (Huston) as he hosts a screening party for his unfinished latest project. Using both color and black-and-white footage, the film was shot on 8 mm and 16 mm in an unconventional documentary style, featuring a rapid-cutting approach between the many cameras of the story's numerous journalists and news-people. It was intended among other things as a satire of both the passing of Classic Hollywood and of the avant-garde film-makers of Europe and New Hollywood in the 1970s. The unreleased results would be called "the Holy Grail of cinema".[5] It holds the record for the longest production time in history at 48 years.


The Other Side of the Wind had its world premiere at the 75th Venice International Film Festival on August 31, 2018, and was released on November 2, 2018 by Netflix to critical praise, accompanied by a documentary, They'll Love Me When I'm Dead.

A graphic steamroom scene, rapidly intercut, featuring Oja Kodar, which Hannaford is in the process of filming at the start.

lesbian

Several expressionistically shot chase scenes between Oja Kodar and Bob Random amid the skyscrapers of , with various optical illusions, in which it is not immediately apparent whose character is chasing whom. At the end of these scenes, he buys a doll for her, and she rebuffs him, driving off into the night with her boyfriend.

Century City, Los Angeles

The two characters meet again in a nightclub. She steps out into the toilets, where various hippies are engaged in various sex acts, and changes her clothes, before coming back in again. He gives her the doll. She produces a pair of scissors, rapidly cutting the doll's hair, then cutting out its eyes. They step out from the nightclub into her boyfriend's fastback. The car takes off in the rainy night, and as the boyfriend drives, the pair have sex in the passenger seat next to him. After a few minutes the boyfriend stops the car, grabs the girl off of Dale, and appears to make an attempt to engage her for himself. She rebukes him and the pair is then tossed out. John Dale, with his pants halfway down, lands in a large puddle.

1968 Ford Mustang

The next morning arrives and Kodar's totally naked character has found shelter in the second story of a house. From there, she climbs carefully out of an open window, drops to the ground, and wanders to an empty railroad car, where she finds Dale asleep on the floor. More chase scenes with optical illusions ensue, around the studios back-lot (including Kodar's character going into Andy Hardy's iconic house).

Metro-Goldwyn-Mayer

There is then a sex scene on raw bedsprings left on the studio back-lot. Off screen you can hear Hannaford giving Dale direction, and after some awkward badgering, a naked Dale decides he's had enough and leaves the set. Hannaford watches him go and calls out through the megaphone ..."goodbye Johnny Dale." The production is now without a leading man.

There is then a scene—which Hannaford's manager 'The Baron' complains is presented out of sequence—in which a now-clothed John Dale walks alone around a dusty, windy studio back-lot.

The final scene features a nude Oja Kodar attacking a giant phallic symbol with a pair of scissors, and it deflating and collapsing in front of her.

director, camera operator (throughout the whole film).

Orson Welles

director of photography, camera operator (throughout the whole film).

Gary Graver

Bill Weaver, camera operator (Arizona). He was the co-inventor (with Robert Steadman) of the Weaver-Steadman balanced fluid head, 2 and 3 axis camera supports widely used in Hollywood productions.

production assistant, camera assistant (Arizona). Primarily an actor in the film, but he also slated scenes for the camera department. He has over 200 acting credits on IMDb.

Peter Jason

production assistant (Arizona). He went on to produce Back to the Future Part I, II, & III, The Witches of Eastwick, Caddyshack II, Trespass, Get Carter, Geronimo: An American Legend and others.

Neil Canton

unit production manager, production accountant (Arizona). Subsequently, a noted Hollywood producer.

Frank Marshall

Rick Waltzer, production assistant, camera assistant (Arizona).

Larry Jackson, grip (Arizona). He also acted in the film as the director of the documentary film crew following Jake Hannaford. He went on to become vice president of international acquisitions for the Samuel Goldwyn Company.

art direction (Hannaford's film, and LA car scenes). Subsequently, a Hollywood producer, production designer and screenwriter.

Polly Platt

Bill Shepherd, grip (Arizona)

Ruth Hasty, post production supervisor (Hollywood), joining the production in 2014. She has post production supervisor and other credits on , Mission: Impossible, The Twilight Saga: Breaking Dawn – Part 2, Jurassic Park and many others.

The Talented Mr. Ripley

,[1] editor, joining the production in 2017. He has editor credits on The Hurt Locker, Spider-Man, Spider-Man 2, Spider-Man 3 and many others.

Bob Murawski

Vincent Marich, costume designer (Los Angeles).

Shot over many years in many locations, the film had many crew members, some of whom may be difficult to ascertain. The following crew list also contains the locations where they worked and any authenticating references. The crew members often were performing multiple tasks, so that defining the various roles is difficult.

Production history[edit]

Inception of the project, 1961–1970[edit]

The film had a troubled production history. Like many of Welles' personally funded films, the project was filmed and edited on-and-off for several years.


The project evolved from an idea Welles had in 1961 after the suicide of Ernest Hemingway. Welles had known Hemingway since 1937, and was inspired to write a screenplay about an aging macho bullfight enthusiast who is fond of a young bullfighter. Nothing came of the project for a while, but work on the script resumed in Spain in 1966, just after Welles had completed Chimes at Midnight. Early drafts were entitled Sacred Beasts and turned the older bullfight enthusiast into a film director. At a 1966 banquet to raise funds for the project, Welles told a group of prospective financiers:

El Sueño Loco [A Crazy Dream] (Ayuntamiento de Malaga, Malaga, 2001), 430 pp. (Written in Spanish; the English translation of a portion of Gómez's autobiography was subsequently made available online on Gómez's company website in 2013).[83]

Andrés Vicente Gómez

Giorgio Gosetti (ed.), [Orson Welles and Oja Kodar], The Other Side of the Wind: scénario-screenplay (Cahiers du Cinéma & Festival International du Film de Locarno, Switzerland, 2005) 221pp.

An Open Book (Alfred A. Knopf, New York, 1980), 448pp.

John Huston

Despite the System: Orson Welles Versus the Hollywood Studios (Canongate, Edinburgh, 2005), 402pp.

Clinton Heylin

Josh Karp, Orson Welles's Last Movie: The Making of The Other Side of the Wind (St. Martin's Press, New York, 2015), 352 pp.

[84]

Orson Welles: a biography (New York: Viking, 1985), 562 pp.

Barbara Leaming

Orson Welles (Boston: Da Capo Press, 1972 [rev. 1996 edn]), 245 pp.

Joseph McBride

Joseph McBride, Whatever Happened to Orson Welles? A portrait of an independent career (University Press of Kentucky, Kentucky, 2006) 344 pp.

The Quality of Mercy: An Autobiography (New York: Times Books, 1981), 245 pp.

Mercedes McCambridge

Andrew J. Rausch (ed.), , Making Movies with Orson Welles: a memoir (Scarecrow Press, University of Michigan, 2008), 191 pp.

Gary Graver

(ed.), Peter Bogdanovich and Orson Welles, This is Orson Welles (DaCapo Press, New York, 1992 [rev. 1998 ed.]), 550 pp.

Jonathan Rosenbaum

Massimiliano Studer, "Orson Welles e la New Hollywood. Il caso di The Other Side of the Wind" (Mimesis, Milano-Udine, 2021), 198 pp.

Michael Yates, Shoot 'Em Dead: Orson Welles & The Other Side of the Wind (, Morrisville, North Carolina, 2020), 260 pp.

Lulu

The film is covered in depth in the following books and articles:

Working with Orson Welles, 1993.

Graver, Gary

Sedlar, Dominik and Sedlar, Jakov, Searching for Orson, 2006.

Suffern, Ryan, , 2018.

A Final Cut for Orson: 40 Years in the Making

They'll Love Me When I'm Dead, 2018.

Neville, Morgan

List of films with longest production time

on Netflix

The Other Side of the Wind

at IMDb

The Other Side of the Wind

Wellesnet articles on the film

at Framative

Review of film in Persian

at Rotten Tomatoes

The Other Side of the Wind