İrlandalı Michael O’Hara (Orson Welles) serserilerin elinden kurtardığı Elsa Bannister’a (Rita Hayworth) aşık olur. Kadın da ona ilgi gösterir ve avukat kocasıyla (Everett Sloane) beraber seyahat ettikleri yatın mürettabatına katılmasını ister. Yolculuğun başlamasıyla entrikalar silsilesi hız kazanır.
Orson Welles’in yazdığı, yönettiği ve oynadığı bir film. Sherwood King’in “If I Die Before I Wake” kitabından uyarlama.
Noir film unsurları kullanılıyor kullanılmasına ama beceriksizce. “Femme fatale” rolünün yakıştığı sarışınlaştırılmış Hayworth ve eşi rolündeki Everett Sloane iyi seçimler fakat yürümeyen bir şeyler var. Mesela Akvaryum sahnesi gibi bazı sekanslar fazla deneysel kaçıyor. Meksika yolculuğu kısmı noir film havasını dağıtıyor. Mahkeme sahnesi yine bu tarzda eğreti duruyor. Galiba Stilize sahneler "noir" havasına bir şey katmıyor. Hikaye yeterince gizemli değil ve merak uyandırmıyor. Sözgelimi sinematografik açıdan daha düz bir film olan Malta Şahini'ndeki (1941) çekiciliğin onda biri yok. Özetle bana göre değilmiş. Ancak Rita Hayworth güzelliğinin hatırına seyredebildim
Filmin başında genç adamın sigara ikramını kullanmamasına karşın alıp mendilinin arasına özenle yerleştirmesi hanımefendilik örneği olarak hatırlanacak sahnelerden biriydi. Yalnız ilerleyen sahnelerde Elsa'nın sigara içtiği de gözümden kaçmadı. Belki de güvenilmeyecek bir kadın olduğuna işaret eden bilinçli bir tutarsızlıktı.
Aslında Şangay’la bir ilgisi yok. Elsa bir süre orada kalmış ve finalde bir Çin gösterisi var sadece. İlginç gözüksün diye kullandılar herhalde.
Orson Welles bu filmi Rita Hayworth ile evliliklerinin sonuna doğru çekmiş. Zaten bittikten kısa bir süre sonra ayrılmışlar.
Bu hafta Alzheimer ve Terry Pratchett’tan bahsetmiştim. Rita Hayworth’ün ALZ sonucu kaybedildiğini öğrenmek üzücü bir rastlantı oldu. Başarısız 5 evliliğin ardından son yıllarında kızı yanında olmuş.
Everett Sloane Broadway’de başlar. Radyo oyunlarında başarı kazanır. Borsada çalışır ama 1929’da çökünce aktörlüğe dönmek zorunda kalır. Sinemaya Orson Welles’in Citizen Kane’i ile adım atar. Birçok dizi ve filmde oynar. Gözleri kötüleşince 55 yaşında çok sayıda barbitürat alarak intihar eder.
According to Orson Welles, this film grew out of an act of pure desperation. Welles, whose Mercury Theatre company produced a musical version of "Around the World in 80 Days," was in desperate need of money just before the Boston preview. Mere hours before the show was due to open, the costumes had been impounded and unless Welles could come up with $55,000 to pay outstanding debts, the performance would have to be canceled. Stumbling upon a copy of "If I Die Before I Wake," the novel upon which this film is based, Welles phoned Harry Cohn, instructing him to buy the rights to the novel and offering to write, direct and star in the film so long as Cohn would send $55,000 to Boston within two hours. The money arrived, and the production went on as planned.
|Harry Cohn ile|
Near the end of shooting, Orson Welles told Columbia executives that he wanted a complete set repainted on a Saturday for shooting on Monday. Columbia exec Jack Fier told Welles it was impossible, because of union rules and the expense that would be incurred by calling in a crew of painters to work on a weekend. Welles and several friends broke into the paint department that Saturday and repainted the set themselves, and when they were finished they hung a banner on the set that read "The Only Thing We Have to Fear is Fier Himself". When the union painters arrived at work on Monday and saw that the set had been repainted by someone else, they refused to work, threw a picket line around the studio and threatened to stay on strike until a union crew was paid triple time for the work that had been done (which was why Fier had refused to authorize the work in the first place). To placate the union, Fier agreed to pay them what they wanted but put the cost on Welles' personal bill. In addition, he had the union painters paint a banner saying "All's Well That Ends Welles".
Columbia Pictures chief Harry Cohn thought the movie would ruin his star, Rita Hayworth, and held the release of the picture back for one year. Cohn ordered director Orson Wellesto insert "glamour" shots (close-ups) of Hayworth. Because of the success of Hayworth's singing in other films, Cohn ordered filming of the scene where Hayworth sings "Please Don't Kiss Me."
The yacht on which much of the action takes place was the "Zaca", which was rented from its owner, Errol Flynn. Flynn skippered the Zaca between takes, and he can be spotted in the background in a scene outside a cantina.
Orson Welles' original rough cut of this picture ran 155 minutes. Numerous cuts made by Columbia Pictures executives included a shortening of the famous "funhouse" finale.
Orson Welles runs past an old Mexican movie poster of Resurrection (1927) during a chase scene. The film stars Dolores del Rio, a former girlfriend of Welles'.
Orson Welles was very displeased with the score put together by the studio-appointed composer. In a test screening, he put a temp stock score on which was supposed to be a model for the composer. The composer completely disregarded Welles' precisely laid-out blueprint. In particular, the final mirror scene was supposed to be unscored, to create the sense of terror.
Orson Welles thought of Everett Sloane as primarily a radio actor who didn't move particularly well on film, so he introduced crutches to the character.
When the film was screened for Columbia Pictures president Harry Cohn, he found it so incomprehensible he offered to pay $1,000 to anyone who could explain the plot to him. Later he decided to clarify the film by beginning it with the trial scene and telling the preceding part of the story in flashbacks, but abandoned the plan because so much new footage would have had to be shot it would have nearly doubled the film's cost.
Errol Flynn's own pet dachshund is seen in the yacht scenes, since it is Flynn's yacht Zaca in the film. Flynn also did all the aerial photography for that film's yacht scenes and is in the film incognito.
The cast was frequently frustrated and confused by arriving on the set to find Orson Welles rewriting the script from day to day. His method of working with his actors was often harsh and manipulative. Sometimes he deliberately rattled them to get nervous, edgy performances. Other times he would cause them to forget their lines so they could improvise new ones. One such line that survives on screen was made up on the spot by a flustered Erskine Sanford as the judge: "This isn't a football game!"
Shooting was delayed whenever Errol Flynn disappeared for extended lengths of time. His contract stipulated the yacht could not be used unless he was present.
Rita Hayworth became ill while shooting in Mexico, and the production had to close down for a month. Orson Welles had been unfairly criticized for having the film go over budget.
In person Rita was shy, quiet and unassuming; only when the cameras rolled did she turn on the explosive sexual charisma that in Gilda (1946) made her a superstar. To Rita, though, domestic bliss was a more important, if elusive, goal, and in 1949 she interrupted her career for marriage - unfortunately an unhappy one almost from the start - to the playboy Prince Aly Khan. Her films after her divorce from Khan include perhaps her best straight acting performances, They Came to Cordura(1959). Beginning in 1960 (age 42), early onset of Alzheimer's disease (undiagnosed until 1980) limited Rita's ability. The last few roles in her 60-film career were increasingly small. Almost helpless by 1981, Rita was cared for by her daughter Yasmin Khan until her death at age 68.
Perhaps Gene Ringgold said it best when he remarked, "Rita Hayworth is not an actress of great depth. She was a dancer, a glamorous personality, and a sex symbol.
Part of the reasons for the downward spiral was television, but also Rita had been replaced by the new star at Columbia, Kim Novak. After a few, rather forgettable films in the 1960s, her career was essentially over.
On May 27, 1949, she married Prince Aly Khan. Many people forget that Rita, not Grace Kelly, was the first movie star to become a princess.
Charlton Heston wrote about Rita Hayworth's brief marriage to James Hill. Heston and his wife Lydia joined the couple for dinner in a restaurant in Spain with the director George Marshall and Rex Harrison, Hayworth's co-star in "The Happy Thieves." Heston wrote in his memoir that the occasion "turned into the single most embarrassing evening of my life", describing how Hill heaped "obscene abuse" on Hayworth until she was "reduced to a helpless flood of tears, her face buried in her hands". Heston writes how they all sat stunned, witnesses to a "marital massacre" and though he was "strongly tempted to slug him" (Hill), he instead simply took his wife Lydia home when she stood up, almost in tears. Heston wrote, "I'm ashamed of walking away from Miss Hayworth's humiliation. I never saw her again.".
Arthur Bannister: "Killing you is killing myself. But, you know, I'm pretty tired of both of us."
Michael O'Hara: "I've always found it very... sanitary to be broke."
Elsa Bannister: "You need more than luck in Shanghai."
Arthur Bannister: "You've been traveling around the world too much to find out anything about it."
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