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Orson Welles considered The Magnificent Ambersons the crucial turning point in his career. He said, "They destroyed Ambersons and it destroyed me." In 1942, while Welles was away, RKO Studios drastically recut the completed film. None of that deleted footage is known to survive.
Now film scholar Robert Carringer has reconstructed Welles's own version of Ambersons, using all available surviving evidence including rare studio documents and the recollections of Welles himself and other original participants in the film.
Carringer reaches startling conclusions about where the responsibility for the film's undoing ultimately lies. His spellbinding—and no doubt controversial—book will be eagerly welcomed by film historians and enthusiasts.
- Sales Rank: #1651985 in Books
- Published on: 1993-04-29
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x .75" w x 7.01" l, 1.67 pounds
- Binding: Hardcover
- 318 pages
Amazon.com Review
The story of The Magnificent Ambersons is one of the saddest in movie history. Directed by Orson Welles the year after Citizen Kane, this magnificent movie was butchered by RKO studios, which had wrested the final cut away from the director. RKO had become increasingly disenchanted with Welles after the box-office failure of Kane and the dismal reaction of Ambersons's preview audiences. In a futile attempt to make the second film more commercial, the studio tossed many of Welles's scenes onto the cutting-room floor and shot new sequences that led to a happy ending, ultimately transforming a dark 131-minute epic into a far more benign 88-minute work that manifested confusing changes of tone and sometimes degenerated into complete incomprehensibility.
Robert Carringer has done a splendid job of reconstructing this lost movie. His book contains a chronology of the Amberson family and a documentary history of the "ordeal of editing and reediting" the film. It provides a complete transcription of the film's original shooting script, illustrated with storyboards and photographic stills and accompanied by voluminous explanatory notes. It's a revelation to see the surviving cut of The Magnificent Ambersons and then refer to the book to find what the movie might have been, but Welles's screenplay is so literate that it makes fine reading on its own. --Raphael Shargel
From Library Journal
The Magnificent Ambersons was Orson Welles's 1942 follow-up to Citizen Kane (1941). Before the film's completion, Welles traveled to South America on assignment for the State Department, leaving post-production work on the film to RKO. After a test audience panned the film, studio heads scrambled madly to salvage their $1 million investment by cutting 50 minutes of Welles's footage and reshooting several scenes. The deleted film stock was burned, opening a permanent rift between Welles and Hollywood. Using shooting schedules, storyboards, and other studio documents, Carringer, author of The Making of Citizen Kane ( LJ 7/85), has reconstructed the original script, allowing readers to experience Ambersons as Welles envisioned it. Although not all will agree with Carringer's theory that Welles was as responsible for the film's failure as RKO or with his Freudian analysis of Welles's psyche, the film world nevertheless owes Carringer a true debt of gratitude for this volume. Essential for large film collections.
- Michael Rogers, "Library Journal"
Copyright 1993 Reed Business Information, Inc.
Review
"Since there is no hope of ever restoring the film itself, Robert L. Carringer has come up with the best approximation. . . . Carringer has performed an important service."--"Los Angeles Reader
Most helpful customer reviews
0 of 0 people found the following review helpful.
In one word:
By ls_chicago
Fabulous.
17 of 18 people found the following review helpful.
A strange relationship between critic and subject
By Blake&Mortimer
At first glance, this looks like a book no Welles fans would want to be without. One has to be cautioned however regarding Carringer's oddly contradictory attitudes towards Welles. He does seem to admire the work, and his article "The scripts of Citizen Kane" did much to counter Pauline Kael's charge that Welles misappropriated writing credits on that film. Whereas she was working from spite, Carringer was working from facts and scholarship. (It can be found in the Citizen Kane Casebook edited by James Naremore.)
But in this and in his book The Making of Citizen Kane, Carringer seems to adopt an antagonistic attitude towards Welles, as if he is trying to transform himself into Kael's heir. He writes from the point of view that if anything good or great is achieved in these two movies, it was in spite of Welles. Furthermore, in every instance of disagreement between Welles and the studio, Carringer systematically argues that RKO was invariably right and Welles wrong. The director may not have been perfect and did make some career and artistic blunders along the way, but Carringer's position is too extreme.
And of course, every critic who disagrees with him is viewed as over-indulgent or a Welles sycophant.
Which is too bad considering this book is the only source to offer the continuity script in its entirety; this material alone is evidence enough to completely discredit Carringer's thesis and to make one deplore even more sharply what we are missing in the butchered version that survives of the film. And as for his 5-cent psychoanalysis of Welles' family relationships and their impact on his professional work, I think we should observe a generous silence about its ludicrousness.
Other critics have proven it's possible to write balanced judgments on Welles, warts and all; Jonathan Rosenbaum, François Thomas and James Naremore among them (although in Naremore's case, the publisher did slap on his first essay the totally ridiculous title of The Magic World of Orson Welles.)
All in all, this book can be appreciated as making available source material unavailable elsewhere, a feat that will probably not be duplicated because of the dispersal of RKO's archives. The critical contents however must be taken with a kilogram of salt. I you can find it cheap, do not hesitate.
12 of 13 people found the following review helpful.
required reading minus the Oedipus at Kenosha introduction
By A Customer
This is about as close as we're ever going to get to know how Ambersons was constructed and as such is required reading for any cineaste. However, one should read Carringer's introduction with a bucket of salt. The idea that Welles couldn't complete this rendition of Hamlet because of unresolved conflict with his own family I find a bit hard to swallow. I'd say circumstances (RKO's management shuffle, the war effort, Nelson Rockefeller being a tool, Orson's big mouth/ego) had more effect on the collapse of Ambersons than Welles' mom. Still, well worth the price for the cutting continuity.
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