by Simon Callow
4. Roger Sansom, letter to the author, September 1998.
5. ‘Orson Welles, Peter O’Toole and Ernest Milton discuss Hamlet’, interview with Huw Wheldon, Monitor, BBC Television, 27th October 1963.
6. Margaret Rutherford, quoted in Keith Baxter, My Sentiments Exactly. Oberon, 1998.
7. Alan Webb and Michael Aldridge, quoted in Orson Welles interview with Kathleen Tynan, Sunday Times.
8. Daniel Sollé, letter to the author, 9th April 1998.
9. Michael Knox, unattributed interview, Dublin Gate Collection, Northwestern University, Illinois Archive.
10. Pierre Billard, Sight and Sound, Spring 1965.
11. Juan Cobós, Cahiers du Cinéma, April 1965.
12. John Gielgud, conversation with the author, 1994.
13. Baxter, My Sentiments Exactly.
14. Juan Cobós, Cahiers du Cinéma, April 1965.
15. John Gielgud, interview with Brian Case, Time Out, August 1991.
16. Baxter, My Sentiments Exactly.
17. John Gielgud, interview with Brian Case, Time Out, August 1991.
18. Keith Baxter, interview with the author, 1989.
19. Orson Welles, interview, Cahiers du Cinéma, September 1967; English edition, Cahiers du Cinéma in English, No. 11.
20. Daniel Sollé, letter to the author, 9th April 1998.
21. Baxter, My Sentiments Exactly.
22. John Gielgud, letter to Benjamin Britten, quoted in John Gielgud: From Matinee Idol to Movie Star. Methuen Drama, 2011.
23. Edmond Richard, quoted in Jean-Pierre Berthomé and François Thomas, Orson Welles at Work. Phaidon, 2008.
24. Jeanne Moreau, ‘The Orson Welles Story’, BBC Arena television interviews, 1982, quoted in Marianne Gray, La Moreau: A Biography of Jeanne Moreau. Little Brown, 1994.
25. Edmond Richard, quoted in Berthomé and Thomas, Orson Welles at Work.
26. Ibid.
27. Orson Welles, interview with Leslie Megahey, BBC Arena television interviews, 1982.
28. Edmond Richard, quoted in Berthomé and Thomas, Orson Welles at Work.
29. Orson Welles, interview with Kenneth Tynan, ‘A conversation with the protean actor-writer-producer-director and Falstaffian bon vivant’, Playboy Magazine, March 1967.
30. Baxter, My Sentiments Exactly.
31. W. H. Auden, ‘The Prince’s Dog’, The Dyer’s Hand, and Other Essays. Faber & Faber, 1963.
32. Orson Welles, interview with Leslie Megahey, BBC Arena television interviews, 1982.
CHAPTER 20
1. Alessandro Tasca Di Cutò, A Prince in America. Sellerio, 2004.
2. Fred Muller, interview with Peter Tonguette, in Orson Welles Remembered: Interviews with His Actors, Editors, Cinematographers and Magicians. McFarland, 2006.
3. Peter Parasheles, interview with Peter Tonguette, in Orson Welles Remembered.
4. Darryl F. Zanuck, letter to Orson Welles, 10th August 1965.
5. Orson Welles, unpublished interview with Kathleen Tynan, June 1965.
6. V. C. Thomas, Festival de Cannes, 1966.
7. David Lewin, ‘Olé For Citizen Falstaff’, Daily Mail, 10th May 1966.
8. Daily Variety, 18th May 1966,
9. Bosley Crowther, New York Times, 20th March 1967.
10. Robert Robinson, Sunday Telegraph, 26th March 1967.
11. Penelope Houston, Spectator, 31st March 1967.
12. John Coleman, New Statesman, 24th June 1967.
13. Pauline Kael, New Republic, 24th June 1967.
14. Jean-Louis Comolli, ‘Jack Le Fataliste’, Cahiers du Cinéma, August 1967.
15. Georgia Brown, Village Voice, 30th June 1992.
16. Gore Vidal, ‘Remembering Orson Welles’, New York Review of Books, 1st June 1989.
BIBLIOGRAPHY
Anile, Alberto translated by Marcus Perryman, Orson Welles in Italy. Indiana University Press, 2013.
Arnaz, Desi, A Book. Morrow, 1976.
Auden, W. H., The Dyer’s Hand & Other Essays. Faber & Faber, 1963.
Baxter, Keith, My Sentiments Exactly. Oberon, 1998.
Bentley, Eric, In Search Of Theatre. Dobson, 1954.
Berthomé, Jean-Pierre & François Thomas, Orson Welles at Work. Phaidon, 2008.
Bessy, Maurice translated by Ciba Vaughan, Orson Welles. Crown Publishers, 1971.
Blair, Betsy, The Memory of All That: Love and Politics in New York, Hollywood, and Paris. Alfred A. Knopf, 2003.
Blumenfeld, Samuel, L’Homme Qui Voulait Être Prince: Les Vies Imaginaires de Michal Waszynski. Grasset, 2006.
Brady, Frank, Citizen Welles: A Biography of Orson Welles. Scribner, 1989.
Brochu, Jim, Lucy in the Afternoon: An Intimate Memoir of Lucille Ball. New English Library, 1990.
Capote, Truman ed. Gerald Clarke, Too Brief a Treat: The Letters of Truman Capote. Random House, 2004.
Croall, Jonathan, John Gielgud: Matinee Idol to Movie Star. Methuen Drama, 2011.
Drazin, Charles, In Search of the Third Man. Methuen, 1999.
—, Korda: Britain’s Only Movie Mogul. Sidgwick & Jackson, 2002.
Dundy, Elaine, Finch, Bloody Finch: A Biography of Peter Finch. Joseph, 1980.
—, Life Itself!. Virago, 2001.
Farson, Daniel, Sacred Monsters. Bloomsbury, 1988.
Fitzsimons, Christopher, The Boys: A Double Biography. Nick Hern Books, 1994.
Fleischer, Richard, Just Tell Me When to Cry: A Memoir. Carroll and Graf, 1993.
Gordon, Eric A., Mark the Music: The Life and Work of Marc Blitzstein. St Martin’s Press, 1989.
Gray, Marianne, La Moreau: A Biography of Jeanne Moreau. Little Brown, 1994.
Heston, Charlton, In the Arena: The Autobiography. HarperCollins, 1995.
—, An Actor’s Life: Journals, 1956–1976, ed. Hollis Alpert. E. P. Dutton, 1978.
Higham, Charles, Orson Welles: The Rise and Fall of an American Genius. St Martin’s Press, 1985.
Ionesco, Eugène translated by Donald Watson, Notes and Counter-Notes. John Calder, 1964.
Jason, Rick, Scrapbooks of My Mind: A Hollywood Autobiography. Strange New Worlds, 2000.
Kitt, Eartha, Tuesday’s Child. Cassell, 1957.
Leaming, Barbara, Orson Welles: A Biography. Viking, 1985.
Lindfors, Viveca, Viveka-Viveca. Bonniers, 1978.
Lindsay-Hogg, Michael, Luck and Circumstance. Alfred A. Knopf, 2011.
MacLiammóir, Micheál, Each Actor on His Ass. Methuen, 1952.
—, Put Money in Thy Purse: The Filming of Orson Welles’ ‘Othello’. Foreword by Orson Welles. Methuen, 1976.
Mancini, Henry, Did They Mention the Music?: The Autobiography of Henry Mancini. McGraw-Hill, 1989.
McCambridge, Mercedes, The Quality of Mercy: An Autobiography. Times Books, 1981.
McCarthy, Todd & Charles Flynn, eds, Kings of the Bs: Working Within the Hollywood System, An Anthology of Film History and Criticism. E. P. Dutton, 1975.
Nilsen, Sarah, Projecting America, 1958: Film and Cultural Diplomacy at the Brussel’s World Fair. McFarland, 2011.
Noble, Peter, The Fabulous Orson Welles. Hutchinson, 1956.
Plowright, Joan, And That’s Not All. Weidenfeld & Nicolson, 2001.
Rosenbaum, Jonathan, Discovering Orson Welles. University of California Press, 2007.
Sallis, Peter in collaboration with John Miller, Fading Into the Limelight. Orion, 2006.
Tarbox, Todd, Orson Welles and Roger Hill: A Friendship in Three Acts. BearManor Media, 2013.
Tasca di Cutò, Alessandro, Un Principe in America. Sellerio, 2004.
Timmerman, Brigitte, The Third Man’s Vienna: Celebrating a Film Classic. Shippen Rock Publishing, 2005.
Tonguette, Peter Prescott, Orson Welles Remembered: Interviews with
His Actors, Editors, Cinematographers and Magicians. McFarland, 2006.
Welles, Orson & Peter Bogdanovich ed. Jonathan Rosenbaum, This Is Orson Welles. HarperCollins, 1992.
Whaley, Bart, Orson Welles: The Man Who Was Magic. Published as eBook, Lybrary.com, 2011.
Wheldon, Wynn, Kicking the Bar. Published as eBook, Unbound, 2015.
Williams, John L., America’s Mistress: The Life and Times of Eartha Kitt. Quercus, 2013.
Williams, Kenneth, Just Williams: An Autobiography. Dent, 1985.
—, Diaries, ed. Russell Davies. HarperCollins, 1993.
Winecoff, Charles, Split Image: The Life of Antony Perkins. Dutton and Dial, 1996.
Wood, Bret, Orson Welles: A Bio-Bibliography. Greenwood Press, 1990.
PICTURE CREDITS
Welles in Paris, 1950 (photo by Robert Doisneau/Gamma-Rapho/Getty Images).
Welles as Faustus and Eartha Kitt as Helen of Troy (photo by ullstein bild/ullstein bild via Getty Images).
Welles being listened to by Carol Reed during filming for The Third Man, 1950 (photo by Popperfoto/Getty Images).
Harry Lime, cornered (photo by Donaldson Collection/Michael Ochs Archives/Getty Images).
Gielgud as Sherlock Holmes, Welles as Moriarty, Ralph Richardson as Dr Watson, London, 1955 (photo by Hulton Archive/Getty Images).
Welles as Hank Quinlan in Touch of Evil, 1958 (photo by Universal Studios/Newsmakers).
Chimes at Midnight location photographs, 1964 (© Nicolas Tikhomiroff/Magnum Photos).
All other images from author’s personal collection.
ACKNOWLEDGEMENTS
FIRST OF all, I have to thank Dan Franklin of Jonathan Cape, for sticking with the ever-expanding book through thick and thin, across its many volumes, accommodating with superhuman tolerance the impossible schedule of a writer who is on first call to several other professions. Secondly, deep gratitude and sympathy to Katherine Ailes, my ever-vigilant and always good-humoured editor, who took with apparent relish to the experience of chapters emerging suddenly and without warning at erratic intervals, and endured with perfect equanimity the orgy of radical rewriting which I like to undertake at the last possible moment. My agent Maggie Hanbury has as ever been angelically serene, bravely passing on terrible messages of delays and Radical New Thinking without a qualm. Her American counterpart, Robin Straus, has been nothing but supportive, and my American editor, Rick Kot, has been nothing but patient and encouraging. The Wellesian scholars have, as ever, been generous, forthcoming and stimulating: my deep thanks to François Thomas, to Robert Fischer, to Stefan Drössler of the Munich Film Museum, to Jonathan Rosenbaum, and as always, to James Naremore. Rick Schmidlin and Michael Dawson, both involved in Wellesian reconstructions, have been wonderfully helpful, as has Todd Tarbox. My interviewees, whom I list below, have been a source of unending illumination and amusement; I must single out Charlton Heston, who gave most generously of his time, shared his archive with me, sent me photocopies of crucial documents, while Keith Baxter – who did me the honour of agreeing to play King Henry IV when I played Falstaff in Chimes at Midnight onstage at the Chichester Festival Theatre – is one of the key witnesses to Welles, with total recall and shrewd judgement. Kate Percival let me read Rita Ribolla’s wonderful diary, and Joe Pelissier lent me the handwritten diary of his grandmother, Fay Compton, which added greatly to the sum of knowledge about the film of Othello. Finally, my secretary Fiona Wilkins became a one-woman Welles bureau, downloading, typing, scanning, sleuthing, all above and beyond the call of duty. This book owes a lot to her.
INTERVIEWEES AND THEIR RELATIONSHIPS TO WELLES
ARDEN, Robert
MR ARKADIN
AUDLEY, Maxine
OTHELLO
BARTLETT, Peter
RHINOCEROS
BAXTER, Keith
CHIMES AT MIDNIGHT
BEDFORD, Patrick
CHIMES AT MIDNIGHT
BODDINGTON, Diana
OTHELLO
BOGARDE, Gareth
MOBY-DICK
BOOKE, Sorrell
KING LEAR
CHAPPELL, William
MOBY-DICK/THE TRIAL/CHIMES AT MIDNIGHT
CORDWELL, Harry
MOBY-DICK
CUNNINGHAM, Anne
CHIMES AT MIDNIGHT
DAVIDSON, Alisdair
RHINOCEROS
EPSTEIN, Alvin
KING LEAR
FAIRWEATHER, Virginia
OTHELLO/RHINOCEROS
FANTO, George
IT’S ALL TRUE/OTHELLO/THE BLESSED AND THE DAMNED
FENTON, Leonard
CHIMES AT MIDNIGHT
GREEN, William
RHINOCEROS
HESTON, Charlton
TOUCH OF EVIL
JACKSON, Gordon
MOBY-DICK
KANNER, Alexis
CHIMES AT MIDNIGHT
KRONSHAW, Bill
Friend
LACEY, Jackie
CHIMES AT MIDNIGHT
LEWENSTEIN, Oscar
MOBY-DICK/RHINOCEROS
LINDFORS, Viveca
KING LEAR
LINDSAY-HOGG, Michael
CHIMES AT MIDNIGHT
MACAULEY, Alistair
KING LEAR (TV)
MACDOWALL, Roddy
MACBETH
MANKOWITZ, Wolf
MOBY-DICK
MARGOLIS, Henry
MOBY-DICK/KING LEAR
NEGRI, Richard
LADY INTO ICE
NOBLE, Peter
Biographer
PROUSE, Derek
RHINOCEROS
ROGERS, Ann
Secretary
ROGERS, Pieter
RHINOCEROS
RUBY, Thelma
CHIMES AT MIDNIGHT
SALLIS, Peter
MOBY-DICK
STALLARD, Stephen
RHINOCEROS
THEOBALD, Peter
RHINOCEROS
TICKNER, Martin
RHINOCEROS
TIMBERS, John
RHINOCEROS
TOWERS, Harry Alan
HARRY LIME
URE, Gudrun
OTHELLO
WIDHOFF, Françoise
OTHER SIDE OF THE WIND
ZIMMER, Lee
THE BLESSED AND THE DAMNED
<
br /> INDEX
The page numbers in this index refer to the printed version of this book. The link provided will take you to the beginning of that print page. You may need to scroll forward from that location to find the corresponding reference on your e-reader.
ABC Television Studios 240
Academy Awards 112, 342, 368
Ackland, Rodney 28
Adventures of Harry Lime, The (radio series) 88–90, 109, 145–6, 147, 148
Albinoni, Tomaso 360, 364
Aldo, G.R. 45–6
Aldridge, Michael 385, 386, 387, 422
Alfred Hitchcock Presents (television series) 234–5
Allan, James 51
Alland, William 244
Ambassadors Theatre, London 95–6
America the Beautiful (film) 277–8
American National Theater and Academy (ANTA) 7, 8
An Evening with Orson Welles (theatre production) 71–3, 103, 231, 234, 312, 412–13
Anders, Glenn 255
Anderson, Lindsay 342
Anderson, Maxwell 133
Anile, Alberto: Orson Welles in Italy xv, 46, 123
Anouilh, Jean 127, 149, 310
Antony and Cleopatra (Shakespeare) 87, 91, 193–4, 195
Arden, Robert 147, 154–5, 191, 420, 448
Ardmore Film Studio 300
Argosy magazine 192
Aristarco, Guido 110
Armstrong, Louis 42
Arnaz, Desi 231, 234–5, 239, 240–1, 242, 423
Arnold, Jack 243–4, 245
Aronson, Jack 218, 415
Around the World in Eighty Days (musical) xviii, 1, 18, 103, 169, 197, 325