In "Rosebud", Thomson argues that the dark, middle-period Welles was the least attractive and least successful phase of his ever-evolving persona--that it made him seem 'florid' and 'out of date'--and that redemption and spiritual freedom came when Welles was brutally and publicly attacked by Pauline Kael, in her essay "Raising Kane". Thomson's thesis is that Welles--though he never gave up acting hurt by Kael's attack--was secretly relieved not to have to carry the burden of "greatness" and "profundity" that he'd worn since his youth...and that the lighter and easier-going Welles--the man I first saw on Merv and last saw in Jaglom's "Someone To Love"--is perhaps the man he'd always secretly yearned to be...a charmer and a bewitcher who preferred magic over reality and who had a bigger heart than even he knew (it must have been pretty big to have carried him along for seventy years). There is much in the below interview, though, that is wonderful--he begins to rehearse the "directing is the most over-rated profession ever invented" stuff that he pulled on Bogdanovich a few years later (see PB's indispensible "This Is Orson Welles") and he's quite delightful in his insistence that he would always choose to hire a friend over the right person for the role...which ties into his theory that he really isn't all that interested in art and isn't a true professional. "I'm an adventurer" he intones gravely and not altogether sincerely. I wonder if "Touch Of Evil" and its non-success is on his mind at this moment--he was, after all, given a mighty good chance by a Hollywood studio just two years earlier and somehow--despite the magnificent result--it hadn't worked out.
Click here for the full fifty-three minute interview. Below is an excerpt.
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