Rating: 
Summary: This is why we watch movies
Review: "Of all sad words of tongue or pen. The saddest are these 'it might have been' " That proverb seems made specifically for this film. Orson Welles' big screen adaptation of the "Magnificent Ambersons" was cut from two hours down to an hour and a half. The excised footage was destroyed so there will be no 'directors cut' of this film. Lavishly shot, wonderfully directed, and superbly acted this film takes it rightful place as a movie classic. It consistently makes the list of the all time greatest films. HOWEVER, the loss of 1/3rd of the film shows throughout. It is a masterpiece of design and acting, but I found the plot to be jumpy often skipping over important elements from the novel. The characters (with the notably exception of Agnes Moorhead) never really get a chance to grow and develop or show their inner selves. The basic plot centers on new money versus old money. The Ambersons are the acknowledged masters of the town and their crown princess Isabelle spurns the advances of Eugene Morgan a young inventor. Twenty years later Morgan, now a rich widower, and his comely daughter return to the town and meet up with the Ambersons. George Amberson Minever scion of the clan falls in love with young Lucy and the elder Morgan begins to renew his courtship of the widowed Isabelle. George objects to the match and places all possible obstacles in the way of the automobile magnet and his mother. As progress moves forward the automobile changes the way of life for everybody and the rich and powerful Ambersons find themselves behind the times and losing both thief fortune and prestige. This is a classic movie and what is left is well worth seeing over and over again.
Rating:
Summary: This is why we watch movies
Review: "Of all sad words of tongue or pen. The saddest are these `it might have been' " That proverb seems made specifically for this film. Orson Welles' big screen adaptation of the "Magnificent Ambersons" was cut from two hours down to an hour and a half. The excised footage was destroyed so there will be no `directors cut' of this film. Lavishly shot, wonderfully directed, and superbly acted this film takes it rightful place as a movie classic. It consistently makes the list of the all time greatest films. HOWEVER, the loss of 1/3rd of the film shows throughout. It is a masterpiece of design and acting, but I found the plot to be jumpy often skipping over important elements from the novel. The characters (with the notably exception of Agnes Moorhead) never really get a chance to grow and develop or show their inner selves. The basic plot centers on new money versus old money. The Ambersons are the acknowledged masters of the town and their crown princess Isabelle spurns the advances of Eugene Morgan a young inventor. Twenty years later Morgan, now a rich widower, and his comely daughter return to the town and meet up with the Ambersons. George Amberson Minever scion of the clan falls in love with young Lucy and the elder Morgan begins to renew his courtship of the widowed Isabelle. George objects to the match and places all possible obstacles in the way of the automobile magnet and his mother. As progress moves forward the automobile changes the way of life for everybody and the rich and powerful Ambersons find themselves behind the times and losing both thief fortune and prestige. This is a classic movie and what is left is well worth seeing over and over again.
Rating: 
Summary: How George Orson Welles Got His Comeuppance
Review: "The Magnificent Ambersons" is two stories rolled up into one. I will explain them one at a time. First of all, it is the story of a late nineteenth century family, the Ambersons. The Ambersons are a large, wealthy, New England family who are held in high esteem in their community. They live in a large, beautiful mansion where they hold balls and invite all the town folk. Unfortunately, the Ambersons are also very old fashioned and are unable to keep up with the changing times. When Wilbur Minafer dies, it is discovered that he has made some bad investments that has left the Amberson clan bankrupt. Meanwhile, his widow Isabel Amberson begins to see her old flame Eugene whom she had stood up years before. Eugene is in the process of developing a new contraption called an "automobile". Eugene is prospering while the Ambersons are going bankrupt. Also, as one of the Ambersons points out, if automobiles become common and roads are built around their property, then the houses will lose their value. This leads to a wise speech that Eugene gives in response to a rude comment that George makes about Eugene's profession. Indeed, it's not only financially that the Ambersons have trouble adjusting to. George Amberson Minafer, the son of Isabel, has grown from a spoiled young child to a spoiled young adult. He is the scallion of the Amberson clan and the Isabel's pet son. He is the person that the neighbors keep predicting will one day get "his comeuppance". George does not approve of his mother's relationship with Eugene and is determined to pressure her into breaking things off with him. "The Magnificent Ambersons" is an affectionate look at a bigone era and a dark look into the changes that the automobile brought to some families at the dawn of the twentieth century. It was adapted from a novel by Booth Tarkington and directed with care and affection by Orson Welles. Welles had previously done a radio play adaptation of the Ambersons with himself in the role of George. As in that play, Welles narrates throughout the film, even signing off at the end. The black and white cinematography is gorgeous, indeed some of the shots bring to mind some of the pictures I've seen of nineteenth century houses. The music score by an uncredited Bernard Herman adds just the right touch. However it's impossible to watch this film without thinking about the effect it had on Orson Welles. Which brings me to the second part of the story. George Orson Welles was a child prodege who, as he put it, had "genius" whispered into his ear from the time he was born. Starting in the thirties, sixteen-year-old Welles bluffed his way on stage into a Shakespearian production carving out a career as an actor. He also formed the "Mercury Theatre" which produced some highly original stage and radio plays. His radio production of "War of the Worlds" scared people across the country into believing that Martians had invaded Earth. On top of all that, Welles successfully broke into films making "Citizen Kane" for RKO, arguably the greatest film of all time. And this was all before he was twenty-six! By this point, many of Welles' detractors were just waiting for Welles to get his "comeuppance". They wouldn't have to wait long. While Welles was away shooting a documentary in South America, RKO cut 45 minutes from the Ambersons and added three minutes after the film tested badly at a preview screening composed of rambunctious teenagers. RKO then put a stop to Welles' documentary and released the Ambersons with few previews where it flopped badly. While it's a testament to Welles' talents that a film that was so obviously butchered can still get a five star rating, the lost footage is still one of the ultimate Hollywood tragedies. As for Welles, he suddenly found himself with an undeserved reputation as an unreliable director and a spendthrift. Welles' career never fully recovered, and although he would manage to cough up enough money to continue his film career, he would never again have the artistic and financial freedom that he had once enjoyed. Like George Amberson Minafer, George Orson Welles finally got his comeuppance. He got it three times over and brimming.
Rating:
Summary: How George Orson Welles Got His Comeuppance
Review: "The Magnificent Ambersons" is two stories rolled up into one. I will explain them one at a time. First of all, it is the story of a late nineteenth century family, the Ambersons. The Ambersons are a large, wealthy, New England family who are held in high esteem in their community. They live in a large, beautiful mansion where they hold balls and invite all the town folk. Unfortunately, the Ambersons are also very old fashioned and are unable to keep up with the changing times. When Wilbur Minafer dies, it is discovered that he has made some bad investments that has left the Amberson clan bankrupt. Meanwhile, his widow Isabel Amberson begins to see her old flame Eugene whom she had stood up years before. Eugene is in the process of developing a new contraption called an "automobile". Eugene is prospering while the Ambersons are going bankrupt. Also, as one of the Ambersons points out, if automobiles become common and roads are built around their property, then the houses will lose their value. This leads to a wise speech that Eugene gives in response to a rude comment that George makes about Eugene's profession. Indeed, it's not only financially that the Ambersons have trouble adjusting to. George Amberson Minafer, the son of Isabel, has grown from a spoiled young child to a spoiled young adult. He is the scallion of the Amberson clan and the Isabel's pet son. He is the person that the neighbors keep predicting will one day get "his comeuppance". George does not approve of his mother's relationship with Eugene and is determined to pressure her into breaking things off with him. "The Magnificent Ambersons" is an affectionate look at a bigone era and a dark look into the changes that the automobile brought to some families at the dawn of the twentieth century. It was adapted from a novel by Booth Tarkington and directed with care and affection by Orson Welles. Welles had previously done a radio play adaptation of the Ambersons with himself in the role of George. As in that play, Welles narrates throughout the film, even signing off at the end. The black and white cinematography is gorgeous, indeed some of the shots bring to mind some of the pictures I've seen of nineteenth century houses. The music score by an uncredited Bernard Herman adds just the right touch. However it's impossible to watch this film without thinking about the effect it had on Orson Welles. Which brings me to the second part of the story. George Orson Welles was a child prodege who, as he put it, had "genius" whispered into his ear from the time he was born. Starting in the thirties, sixteen-year-old Welles bluffed his way on stage into a Shakespearian production carving out a career as an actor. He also formed the "Mercury Theatre" which produced some highly original stage and radio plays. His radio production of "War of the Worlds" scared people across the country into believing that Martians had invaded Earth. On top of all that, Welles successfully broke into films making "Citizen Kane" for RKO, arguably the greatest film of all time. And this was all before he was twenty-six! By this point, many of Welles' detractors were just waiting for Welles to get his "comeuppance". They wouldn't have to wait long. While Welles was away shooting a documentary in South America, RKO cut 45 minutes from the Ambersons and added three minutes after the film tested badly at a preview screening composed of rambunctious teenagers. RKO then put a stop to Welles' documentary and released the Ambersons with few previews where it flopped badly. While it's a testament to Welles' talents that a film that was so obviously butchered can still get a five star rating, the lost footage is still one of the ultimate Hollywood tragedies. As for Welles, he suddenly found himself with an undeserved reputation as an unreliable director and a spendthrift. Welles' career never fully recovered, and although he would manage to cough up enough money to continue his film career, he would never again have the artistic and financial freedom that he had once enjoyed. Like George Amberson Minafer, George Orson Welles finally got his comeuppance. He got it three times over and brimming.
Rating:
Summary: ANOTHER TRIUMPH FOR WELLES.
Review: A conflict between a landed aristocracy fast drifting into decadence and an industrial bourgeoisie anxious to gain control of society. Tim Holt plays Georgie Minafer, the last bastion of this aristocracy, and Eugene Morgan (Cotten) is the representitive of the industrial pioneers. Georgie is egoism incarnate; he belongs to the scorpions of Welle's world: like Kane, or like Quinlan in TOUCH OF EVIL (1958) he frustrates and blights the lives of those around him almost in spite of himself. Rarely had Welles been so gentle and affectionate in his approach, than here. According to Orson Welles, about 45 minutes was cut from the released version of this famed movie ("the whole heart of the film, really") he once said, and futhermore, the closing sequence in the hospital wasn't written nor directed by him. No matter. It's still a fascinating venture into the cinema, with a fine Proustian flavour fully intact. The Dresden doll beauty of the rarely seen Dolores Costello is memorable as is Agnes Moorehead's superlative portrayal of the frustrated Aunt Fanny: hers is a classic performance which realistically conveys a spinster revelling in the Indian summer of her respected family. Welles the creative technician is in evidence as well. By merging several soundtracks, he achieves the babble of voices that lends such conviction to the leavetaking at the Amberson Ball and to the excursion in the snow. The genius of Welles is also notable during the conversation between Lucy and Eugene in the garden scene; only later does one realise the ingenious parallel between the Indian tale and the Amberson saga itself, because it is done with such subtlety.
Rating:
Summary: When, Oh When Shall We Have A DVD?
Review: A great film, if you don't mind having a completely contemptuious protaganist. This is a masterpiece on par with anything else on celluloid. So where's the DVD?
My geuss is that Criterion is trying to buy the rights and release a super-duper version. It would be a real feather in their cap, of that we can be sure. Probably what's holding everything up is the missing footage. Hopefully we're not all waiting for someone out there who's trying to recover something that probably doesn't exist.
Even if the film gurus can admit to the loss of 45 minutes of the original film, how can they best apologize for the butchering of a masterpiece?
Forget about it, OK? Just release the thing and if the footage miraculously surfaces we'll all buy it again.
If anyone knows the scuttlebut regarding a release date, please post it here for all the Orson Welles fans to see.
Thanks.
Rating:
Summary: A Magnificent Achievement
Review: A lot of attention has been paid to how the studio butchered the film by imposing its own ending. I hope that doesn't take away from this achievement by Welles. The film, ending and all, is a carefully crafted story about the fall of the Amberson family, and in particular, the arrogant George Amberson Minafer. The opening sequence, which sets up the story of the family and its relationship to the community, is perfect and sets the tone for the film. Welles narration becomes as much a part of the story as the characters themselves. The cast is uniformly excellent, with strong performances by Joseph Cotten, Tim Holt, Agnes Moorehead, and a young and very beautiful Anne Baxter. Moorehead, in particular, is incredible in her role as the frustrated spinster aunt. Her scenes toward the end of the film are riveting. I've watched this film several times and I am still amazed by the simplicity of the story and the incredible detail of the filmmaking. It's difficult to imagine that the scenes edited out could have improved this final product.
Rating:
Summary: Butchered masterpiece
Review: After making "Citizen Kane," Orson Welles proceded to this equally ambitious film version of a classic American novel about the decline of a wealthy family, using much of the same good cast he used in "Kane" (though not acting in this one himself.) The result was to have been rather long but visually stunning and virtuoso. Unfortunately, the studio got tired of wrangling with Welles and his high budgets and took the film away from him, cut the film's length, and tacked on a ridiculous happy ending. (You can see the very moment the tack-on ending begins, because the footage suddenly becomes visually dull instead of magnificent as it was with Welles behind the camera.) Thus what we have left is flawed, but all that survives of Welles' original vision - and much of it does - is wonderful. See this film for the camera work alone. It is breathtaking.
Rating:
Summary: Butchered masterpiece
Review: After making "Citizen Kane," Orson Welles proceded to this equally ambitious film version of a classic American novel about the decline of a wealthy family, using much of the same good cast he used in "Kane" (though not acting in this one himself.) The result was to have been rather long but visually stunning and virtuoso. Unfortunately, the studio got tired of wrangling with Welles and his high budgets and took the film away from him, cut the film's length, and tacked on a ridiculous happy ending. (You can see the very moment the tack-on ending begins, because the footage suddenly becomes visually dull instead of magnificent as it was with Welles behind the camera.) Thus what we have left is flawed, but all that survives of Welles' original vision - and much of it does - is wonderful. See this film for the camera work alone. It is breathtaking.
Rating:
Summary: Enjoy The Film Even More By Doing A Little Research!
Review: For those truly interested in what Welles' original version of "The Magnificent Ambersons" would have been like, I strongly recommend Robert Carringer's "The Magnificent Ambersons: A Reconstruction" and Peter Bogdanovich's "This Is Orson Welles". Both books provide considerable detail regarding the significant re-editing and re-shooting which took place on this film. What remains in the released version of Welles' second film is astonishing, but much of the story's logic was lost in the re-cutting, as was important character motivation. Exactly why did the Ambersons lose their fortune? What propelled George to rebuff Eugene? Welles' original version answered these questions and presented an incredible vision of a world overrun by industry. The destruction of this original version of the movie is simply the greatest injustice done to American cinema. Alas, we can still marvel at the film's beautiful performances, the gorgeous "snow ride" scene, the astonishingly realistic "kitchen" scenes and Welles' incredible narration. By all means, watch this movie, but do some reading about what it was meant to be and then use your imagination to see the greatest American movie ever made.
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