The Magnificent Ambersons (1942)
Country: US
Technical: bw 88m
Director: Orson Welles
Cast: Joseph Cotten, Dolores Costello, Agnes Moorehead, Tim Holt, Anne Baxter
Synopsis:
A prosperous mid-Western family is overtaken by the times, notably the arrival of the automobile.
Review:
What could have been an even greater film than Citizen Kane, had it not been for studio interference with the final reels, is still a remarkable work, altogether more humane than its predecessor, though with a similar sense of foreboding at times and a masterly use of interiors and multi-plane sound. The characters played by Costello and Cotten represent the possibility of a managed transition, as opposed to the débâcle Welles envisaged, with Fanny and George condemned to a boarding house and George's life-changing injury beneath the wheels of a motor car. But it was not to be: with RKO's reshot ending, Eugene (and Fanny's) unhappiness is made light of, George's comeuppance forgotten.
Country: US
Technical: bw 88m
Director: Orson Welles
Cast: Joseph Cotten, Dolores Costello, Agnes Moorehead, Tim Holt, Anne Baxter
Synopsis:
A prosperous mid-Western family is overtaken by the times, notably the arrival of the automobile.
Review:
What could have been an even greater film than Citizen Kane, had it not been for studio interference with the final reels, is still a remarkable work, altogether more humane than its predecessor, though with a similar sense of foreboding at times and a masterly use of interiors and multi-plane sound. The characters played by Costello and Cotten represent the possibility of a managed transition, as opposed to the débâcle Welles envisaged, with Fanny and George condemned to a boarding house and George's life-changing injury beneath the wheels of a motor car. But it was not to be: with RKO's reshot ending, Eugene (and Fanny's) unhappiness is made light of, George's comeuppance forgotten.
Country: US
Technical: bw 88m
Director: Orson Welles
Cast: Joseph Cotten, Dolores Costello, Agnes Moorehead, Tim Holt, Anne Baxter
Synopsis:
A prosperous mid-Western family is overtaken by the times, notably the arrival of the automobile.
Review:
What could have been an even greater film than Citizen Kane, had it not been for studio interference with the final reels, is still a remarkable work, altogether more humane than its predecessor, though with a similar sense of foreboding at times and a masterly use of interiors and multi-plane sound. The characters played by Costello and Cotten represent the possibility of a managed transition, as opposed to the débâcle Welles envisaged, with Fanny and George condemned to a boarding house and George's life-changing injury beneath the wheels of a motor car. But it was not to be: with RKO's reshot ending, Eugene (and Fanny's) unhappiness is made light of, George's comeuppance forgotten.