Falstaff d orson welles biography

Toland was unavailable, so Stanley Cortez was named cinematographer. The meticulous Cortez worked slowly and the film lagged behind schedule and over budget. In contract renegotiations with RKO over a film he was obliged to direct, Welles had conceded his right to control the final cut. Schaefer was an expert in film distribution, and attended to the marketing strategy personally.

A finished minute version of the movie, edited per Welles's detailed instructions, was previewed March 17, , in Pomona. Schaefer was present, and he was rattled by the audience response: 75 percent of the preview cards were negative. The film was received more favorably by a preview audience in the more upscale Pasadena on March 19, with only 25 percent of the preview cards negative.

But the experience led Schaefer to authorize the studio to make whatever changes necessary to make The Magnificent Ambersons a commercial success. Wise, whom Welles had left in charge of postproduction, removed nearly 50 minutes of footage from Welles's cut, and several scenes — including the ending — were rewritten and reshot. Over Welles's opposition , The Magnificent Ambersons was cut to run 88 minutes.

When more than half of his score was removed from the soundtrack and replaced by music by Roy Webb , Herrmann bitterly severed his ties with the film and promised legal action if his name was not removed from the credits. Even in its released form, The Magnificent Ambersons is considered one of the best films of all time. 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. Welles was thoroughly briefed in Washington, D. 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.

She concludes that Welles's acceptance of Whitney's request was "a logical and patently patriotic choice". In addition to working on his ill-fated film 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 regarded as a success. Welles's ambassadorial mission was extended to permit his travel to other nations including Argentina, Bolivia, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru and Uruguay.

Welles's own expectations for the film were modest. 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. Welles left for Brazil on February 4 and began filming in Rio on February 8, Benamou wrote, "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.

In RKO Pictures underwent major changes under new management. Nelson Rockefeller , the primary backer of the Brazil project, left its board of directors, and Welles's principal sponsor at RKO, studio president George Schaefer, resigned. 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. Given a limited amount of black-and-white film stock and a silent camera, he was able to finish shooting the episode about the jangadeiros , but RKO refused to support further production on the film. I never recovered from that attack. Airing August 29, , 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.

On October 12, , Cavalcade of America presented Welles's radio play, Admiral of the Ocean Sea , an entertaining and factual look at the legend of Christopher Columbus. 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.

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. The minute weekly program promoted inter-American understanding and friendship, drawing upon the research amassed for the ill-fated film, It's All True. The program was conceived to glorify the aviation industry and dramatize its role in World War II.

Welles's shows were regarded as significant contributions to the war effort. Filming also had wrapped on the 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.

Members of the U. The development of the show coincided with the resolution of Welles's oft-changing draft status in May , when he was finally declared 4-F—unfit for military service—for a variety of medical reasons. The Mercury Wonder Show ran August 3 — September 9, , in an byfoot tent [ ] located at Cahuenga Boulevard , in the heart of Hollywood.

Welles remarked that The Mercury Wonder Show had been performed for approximately 48, members of the U. 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, of The Jack Benny Program , radio's most popular show, when Benny contracted pneumonia on a performance tour of military bases.

Many of the shows originated on U. Welles was placed on the U. Welles campaigned ardently for Roosevelt in 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". On April 12, , 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.

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. 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. 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 Welles began work on The Stranger , 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.

One of its concessions was that he would defer to the studio in any creative dispute. The Stranger was Welles's first job as a film director in four years. Nims under the terms of the contract. The Stranger was the first commercial film to use documentary footage from the Nazi concentration camps. No reason was given, but the impression was left that The Stranger would not make money.

Producer Mike Todd , who would later produce the successful film adaptation , pulled out from the lavish and expensive 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. Welles said it was his favorite of his stage productions. Regarding its extravagance, critic Robert Garland said it had "everything but the kitchen sink. While Mercury Summer Theatre featured half-hour adaptations of some classic Mercury radio shows from the s, 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. 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. Welles brought significant attention to Woodard's cause. The last broadcast of Orson Welles Commentaries on October 6, , marked the end of Welles's own radio shows.

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 for Columbia Pictures. Welles intended it to be a modest thriller, but the budget skyrocketed after Cohn suggested that Welles's then-estranged wife Rita Hayworth 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 particularly appalled 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 the use of mirrors being a recurrent motif of Welles's, starting with Kane 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 until decades later in the U. Prior to , Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth , featuring 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. Of all Welles's post- Kane Hollywood productions, Macbeth is stylistically closest to 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 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.

In Italy he starred as Cagliostro in the film Black Magic. His co-star, Akim Tamiroff , impressed Welles so much that Tamiroff would appear in four of Welles's productions during the s and s. In it, Welles makes what Roger Ebert called "the most famous entrance in the movies, and one of the most famous speeches. During this time, Welles was channeling his money from acting jobs into a self-financed film version of Shakespeare's Othello.

From to , Welles worked on Othello , filming on location in Italy and Morocco. The American release prints had a technically flawed soundtrack, suffering from a dropout of sound at every quiet moment. Welles's daughter, Beatrice Welles-Smith, restored Othello in 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. David Thomson writes of Welles's Othello , "the poetry hangs in the air, like sea mist or incense. You can't tell what is or isn't Shakespeare, where his influence begins and ends. In , Welles continued finding work in England after the success of the Harry Lime radio show.

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, Welles's next turn as director was the film Mr. Arkadin , which was produced by his political mentor from the s, 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.

Falstaff d orson welles biography

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 Stefan Droessler of the Munich Film Museum oversaw a reconstruction of the surviving film elements.

In , Welles also directed two television series for the BBC. The first was Orson Welles' Sketch Book , a series of six minute shows featuring Welles drawing in a sketchbook to illustrate his reminiscences including such topics as the filming of It's All True and the Isaac Woodard case. 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.

During Episode 3 of Sketchbook , Welles makes a deliberate attack on the abuse of police powers around the world. The episode starts with him telling the story of Isaac Woodard , an African-American veteran of the South Pacific during World War II being falsely accused by a bus driver of being drunk and disorderly, who then has a policeman remove the man from the bus.

Woodard is not arrested right away, but rather he is beaten into unconsciousness nearly to the point of death and when he finally regains consciousness he is permanently blinded. By the time doctors from the US Army located him three weeks later, there was nothing that could be done. Welles assures the audience that he personally saw to it that justice was served to this policeman although he doesn't mention what type of justice was delivered.

Welles then goes on to give other examples of police being given more power and authority than is necessary. The title of this episode is "The Police". In , 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 in , after Welles's death. In , Welles returned to Hollywood.

Originally deemed not viable as a pilot, the film was not aired until —and won the Peabody Award for excellence. Welles guest starred on television shows including I Love Lucy. Originally hired as an actor, Welles was promoted to director by Universal Studios at the insistence of Heston. 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. In , a longer preview version of the film was discovered and released. In , Walter Murch reedited the film according to Welles's specifications in his memo. Murch said "I'm just flabbergasted when I read his memos, thinking that he was writing these ideas forty years ago, because, if I was working on a film now and a director came up with ideas like these, I'd be amazed—pleased but amazed—to realize that someone was thinking that hard about sound—which is all too rare".

Murch says that "I'm sure Godard and Truffaut, who were big fans of Touch of Evil , learned from that scene how they could achieve exactly what they wanted—at once both a fresh sense of reality and ingenuity. Throughout the s, filming continued on Quixote on-and-off until the end of 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 s; he never completed a version of the 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 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. 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. 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 , 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.

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 unused, cold, depressing, station master office. The film failed at the box-office. Peter Bogdanovich observed that Welles found the film riotously funny. Welles also told a BBC interviewer that it was his best film.

If I wanted to get into heaven on the basis of one movie, that's the one I would offer up. 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.

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. The cast included Moreau, Kodar and Laurence Harvey. 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.

In 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. Without funding, the show was not completed. In , Welles authorized the use of his name for a cinema in Cambridge, Massachusetts. The Orson Welles Cinema remained in operation until , with Welles making a personal appearance there in 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 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. Welles's primary focus during his final years was The Other Side of the Wind , a project that was filmed intermittently between and Co-written by Welles and Oja Kodar, it is the story of an aging film director John Huston looking for funds to complete his final film.

Financed by Iranian backers, ownership of the film fell into a legal quagmire after the Shah of Iran was deposed. The legal disputes kept the film in its unfinished state until early and it was finally released in November In , Welles directed a short adaptation of Moby-Dick , a one-man performance on a bare stage, reminiscent of his stage production Moby Dick — Rehearsed.

He also appeared in Ten Days' Wonder , co-starring with Anthony Perkins and directed by Claude Chabrol who reciprocated with a bit part as himself in Other Wind , based on a detective novel by Ellery Queen. That same year, the Academy of Motion Picture Arts and Sciences gave him an Academy Honorary Award "for superlative artistry and versatility in the creation of motion pictures.

In his speech, Huston criticized the Academy for presenting the award while refusing to support Welles's projects. In , Welles acted as on-screen narrator for the film documentary version of Alvin Toffler 's book Future Shock. This was the last time he played the lead role in a major film. Welles also contributed to the script, although his writing credit was attributed to the pseudonym 'O.

In some versions of the film Welles's original recorded dialog was redubbed by Robert Rietty. An excerpt of Welles's s 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. Welles hosted a British syndicated anthology series, Orson Welles's Great Mysteries , during the —74 television season.

His brief introductions to the 26 half-hour episodes were shot in July by Gary Graver. In , Paramount Television purchased the rights for the entire corpus of Nero Wolfe stories for Welles. Gilroy was signed to write the television script and direct the TV movie on the assurance that Welles would star, but by April Welles had bowed out. William Conrad was cast in the role.

Made for West German television, it was also released in theaters. Unable to find network interest, the pilot was never broadcast. Beginning in the late s, Welles participated in a series of famous television commercial advertisements. For two years he was on-camera spokesman for the Paul Masson Vineyards, [ f ] and sales grew by one third during the time Welles intoned what became a popular catchphrase: "We will sell no wine before its time.

Interviewed by Leslie Megahey, Welles examined his past in great detail, and several people from his professional past were interviewed as well. Welles provided narration for a documentary on American public television, [ ] the tracks "Defender" from Manowar 's album Fighting the World and "Dark Avenger" on their album, Battle Hymns. He also recorded the concert introduction for the live performances of Manowar that says, "Ladies and gentlemen, from the United States of America, all hail Manowar.

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. In , Welles narrated the short-lived television series Scene of the Crime. During the early years of Magnum, P. Welles's death forced this minor character to largely be written out of the series.

In an oblique homage to Welles, the Magnum, P. The last film roles before Welles's death included voice work in the animated films Enchanted Journey and The Transformers: The Movie , in which he provided the voice for the planet-eating supervillain Unicron. His last film appearance was in Henry Jaglom 's independent film Someone to Love , released two years after his death but produced before his voice-over in Transformers: The Movie.

His last television appearance was on 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. Orson Welles and Chicago-born actress and socialite Virginia Nicolson were married on November 14, Their relationship came to an end due, among other things, to Welles's infidelities.

Welles married Hayworth on September 7, The couple began a passionate affair, and they were married at her parents' insistence. Croatian-born artist and actress Oja Kodar became Welles's longtime companion and mistress both personally and professionally from onward. They lived together for some of the last 20 years of his life. Lindsay-Hogg knew Welles, worked with him in the theatre and met him at intervals throughout Welles's life.

In his autobiography, Lindsay-Hogg reported that his questions were resolved by his mother's close friend Gloria Vanderbilt , who wrote that Fitzgerald had told her that Welles was his father. He found this difficult to be on time for his live shows because he had to use taxicabs and the heavy New York City traffic meant that he was often late.

He soon found a loophole in the law that said you didn't have to be sick to hire an ambulance, so he did just that and had the drivers blast their sirens as he traveled from one station to the next, and that way he was on time. Even if the good old days never existed, the fact that we can conceive such a world is, in fact, an affirmation of the human spirit.

I'm not very fond of movies. I don't go to them much. I started at the top and worked down. I'm not bitter about Hollywood's treatment of me, but over its treatment of D. Contribute to this page Suggest an edit or add missing content. Learn more about contributing. Edit page. More from this person. View agent, publicist, legal and company contact details on IMDbPro.

More to explore. BBC Arts. Arts on iPlayer. Main content. Cinema giant Orson Welles at Orson Welles behind the camera in for F for Fake, his final completed film. Watch scenes from Falstaff: Chimes at Midnight. Falstaff: Chimes at Midnight: the battle. Falstaff: Chimes at Midnight: Welles' Falstaff. Touch of Evil. There's a kind of maverick streak in Orson Orson Welles in The Third Man, Chimes at Midnight premiered to a favorable audience reception at the Cannes Film Festival.

But after New York Times critic Bosley Crowther 's unfavorable advance review, American distributor Harry Saltzman decided to give the film little publicity and minimal distribution when it was released in the U. Crowther criticized the film's poor audio track and called it "a confusing patchwork of scenes and characters Judith Crist praised the film as "stark, simple, concentrating on word and performance, serv[ing] as a reminder of where the substance of the play lies.

Welles held Chimes at Midnight in high regard. If I wanted to get into heaven on the basis of one movie, that's the one I would offer up. I think it's because it is to me the least flawed; let me put it that way. It is the most successful for what I tried to do. I succeeded more completely in my view with that than with anything else. He also considered it his most personal film, along with The Magnificent Ambersons.

Several years after its initial release, critic Vincent Canby of The New York Times wrote that Chimes at Midnight "may be the greatest Shakespearean film ever made, bar none. The Battle of Shrewsbury sequence has been particularly admired, and inspired later movies, including Braveheart and Saving Private Ryan. In , Bonham's Auction House sold a large archive of Welles's material that had once belonged to the film's executive producer, Alessandro Tasca di Cuto.

Most of the material was from Chimes at Midnight , and included Welles's original artwork, photographs, and memoranda. Because of legal disputes over the rights, Chimes at Midnight has been released only twice on VHS video in the United States, and neither release is available. Harry Saltzman's widow Adriana Saltzman, [ 55 ] the families of producers Emiliano Piedra and Angel Escolano and the estate of Orson Welles—maintained by Beatrice Welles — among others have all claimed ownership of the film.

Janus Films released a restored version of the film on D. Welles considered Falstaff "Shakespeare's greatest creation" [ ] and said the role was "the most difficult part I ever played in my life. I hope, of course, he will be funny to the audience, just as he was funny to those around him. But his humor and wit were aroused merely by the fact that he wanted to please the prince.

Falstaff, however, had the potential of greatness in him. He believed the core of the story was "the betrayal of friendship. Everything prepares for it. The film was not intended as a lament for Falstaff, but for the death of Merrie England. Merrie England as a conception, a myth which has been very real to the English-speaking world, and is to some extent expressed in other countries of the Medieval epoch: the age of chivalry, of simplicity, of Maytime and all that.

It is more than Falstaff who is dying. It's the old England dying and betrayed. Many film theorists and Welles biographers have written about the recurrent theme of the "Lost Eden" in Welles's work and of characters who are nostalgic for an idealized past, which Welles called "the central theme in Western culture. When I played him before in the theater, he seemed more witty than comical.

And in bringing him to the screen, I found him only occasionally, and only deliberately , a clown. The comedy is all about gross faults in the man, but those faults are so trivial: his famous cowardice is a joke—a joke Falstaff seems to be telling himself against himself Baxter compared Welles to Falstaff, since they were both perpetually short of money, often lied and cheated people to get what they needed, and were always merry and fun-loving.

Rothwell has called Hal's rejection of Falstaff allegorical to Hollywood's rejection of Welles. Welles's biographer Simon Callow has compared Falstaff to Welles's father Richard Head Welles, writing that like Falstaff, Welles's father was "a drunkard, a trickster, a braggart, a womanizer, a gentleman and a charmer—and he is rejected by the person he loves the most.

When the younger Welles turned 15, he took Hill's advice and told his father he would not see him again until he cleaned up his act and stopped drinking; Welles's father died shortly afterward, alone and lonely, and Welles blamed himself for his father's death, saying, "I always thought I killed him. Welles's alleged biological son Michael Lindsay-Hogg , who was born to actress Geraldine Fitzgerald , first met Welles when he was 15 and later worked on the stage play Chimes at Midnight.

This was the only significant amount of time the two spent together and Lindsay-Hogg saw Welles only sporadically thereafter. Like Welles, Lindsay-Hogg had two surrogate fathers in addition to his biological father. Contents move to sidebar hide. Article Talk. Read Edit View history. Tools Tools. Download as PDF Printable version.

In other projects. Wikimedia Commons Wikidata item. For other uses, see Chimes at Midnight disambiguation. Release dates. May 8, Cannes July 20, France November 17, Switzerland. Running time. Spain [ 1 ] France [ 1 ] Switzerland [ 1 ]. Plot [ edit ]. Cast [ edit ]. Original stage productions [ edit ]. Five Kings [ edit ]. Chimes at Midnight [ edit ].

Production [ edit ]. Pre-production [ edit ]. Filming [ edit ]. Post-production [ edit ]. Style [ edit ]. Cinematography [ edit ]. Sound [ edit ]. Interpretation of Shakespeare [ edit ]. Release [ edit ]. Critical response [ edit ]. Legacy [ edit ].