From the April 1, 1992 Chicago Reader. — J.R,
Part of what makes this wartime Hollywood drama (1942) about love and political commitment so fondly remembered is its evocation of a time when the sentiment of this country about certain things appeared to be unified. (It’s been suggested that Communism is the political involvement that Bogart’s grizzled casino owner Rick may be in retreat from at the beginning.) This hastily patched together picture, which started out as a B film, wound up getting an Oscar, and displays a cozy, studio-bound claustrophobia that Howard Hawks improved upon in his superior spin-off To Have and Have Not. Then again, we get Humphrey Bogart, Ingrid Bergman, Claude Rains, Paul Henreid, Conrad Veidt, Sydney Greenstreet, Peter Lorre, Marcel Dalio, and S.Z. Sakall, and Dooley Wilson performing “As Time Goes By”. PG, 102 min. (JR)
Written for my collection Cinematic Encounters 2: Portraits and Polemics (2019), although it has also appeared by now in Spanish (in Caiman Cuadernos de Cine, November 2018), in Persian (in Sazandegi, December 19-20, 2018), and in French (in Trafic, March 2019). The Other Side of the Wind is still visible and available on Netflix, but I think we’re still a long way from it being adequately “digested” or coherently dismissed, much less adequately defined. (I’ve also heard from Criterion, which has an arrangement with Netflix, that they have no plans to release the film digitally.) Even those who consider it a failure haven’t, for the most part, come up with very persuasive accounts of what it is and does. Superficial replays of rumors about the film that circulated decades ago, many of them half-baked, continue to predominate. But of course this is nothing new when it comes to groping after the meaning and value of Welles’ work, which rarely comes at the time a film is released,. — J.R.
The Other Side of the Argument:
First Thoughts on Orson Welles’s Demonic Fugue
The only time I ever met Orson Welles — in 1972, in response to a letter of mine, to discuss his very first Hollywood project, an updated adaptation of Conrad’s Heart of Darkness that I was writing about — I also had occasion to ask him about the status of his more recent projects. Read more