{"id":37071,"date":"2013-07-24T06:00:46","date_gmt":"2013-07-24T10:00:46","guid":{"rendered":"http:\/\/www.moviefanfare.com\/?p=37071"},"modified":"2015-10-04T22:16:55","modified_gmt":"2015-10-05T02:16:55","slug":"chowing-down-on-my-lunches-with-orson","status":"publish","type":"post","link":"https:\/\/www.moviefanfare.com\/?p=37071","title":{"rendered":"Chowing Down on My Lunches with Orson"},"content":{"rendered":"

\"my-lunches-with-orson\"From 1983 to 1985, Orson Welles <\/a>and indie filmmaker Henry Jaglom<\/a> had lunch at Los Angeles\u2019 Ma Maison restaurant on a weekly basis. During the course of these meals, the two directors discussed politics, people, history and, of course, Hollywood.<\/p>\n

The increasingly cantankerous Welles\u2014his acting and directing career waning with each successive year, and his health failing\u2014played Don Quixote to Jagloms\u2019s Sancho Panza between bites of chicken salad, slurps of soup, and regular berating of the wait staff by Welles.<\/p>\n

The relationship between the two men actually developed into something more than a friendship. Jaglom\u2014who met Welles after he recruited him to play a magician in his trippy 1971 debut film A Safe Place\u2014became an agent for the former enfant terrible<\/i> of American cinema, attempting to get him commercial work and trying to put together financing deals for Welles\u2019 myriad of stalled projects.<\/p>\n

Jaglom, who had a hand in editing Easy Rider and has since directed and starred in close to 20 films, taped the conversations at Welles\u2019 behest. \u00a0Transcripts of the tapes were in turn handed over to Peter Biskind, the author of the acclaimed Easy Riders, Raging Bulls: How the Sex, Drugs and Rock \u2018N\u2019 roll Generation Saved Hollywood, who put the discussions into book form.<\/p>\n

The result is My Lunches with Orson Welles, a deliciously cranky outsider\u2019s inside look at Hollywood, filled with terrific stories, accented by conjecture and pronouncements by Welles which may or may not be true. The intelligence and ego of the Citizen Kane creator shines through in every volley between himself and his wide-eyed attentive lunch date.<\/p>\n

But, sadly, so does the great director\u2019s desperation. Straddled with financial woes and a lack of work\u2014because of the wariness of former and potential employers to deal with his blustery opinions and arrogant \u00a0demeanor\u2014Welles was reduced to considering offers for guest spots on \u201cThe Love Boat\u201d and pleading with Jaglom to get him hired for a commercial\u2014any commercial.<\/p>\n

The multi-talented Welles found himself declared unbankable by the studios at an early age, so his bitterness had been long simmering, and seems to bubble over the surface in these t\u00eate-\u00e0-t\u00eates.<\/p>\n

\"orson_jaglom_4\"<\/a>It is, of course, the acrimony that makes My Lunches with Orson Welles so enjoyable. He rarely had a kind word for anybody.<\/p>\n

Welles took particularly nasty and persistent jabs at fellow Shakespeare acolyte Laurence Oliver. \u00a0John Houseman, his former partner in the Mercury Theater Players, was a prime target for Welles-ian diatribes which were fuelled by Houseman\u2019s popularity and ability to get steady work as a pitchman. Along with gossipy revelations of Olivier and Houseman\u2019s love lives (according to Welles, Sir Larry was quite a ladies\u2019 man; \u00a0Houseman a homosexual), Welles said Olivier was \u201cstupid\u201d and viewed Houseman as a rogue with a phony British accent who sold out after he won his Academy Award (for The Paper Chase).<\/p>\n

There was also no love lost between Welles and several others he knew and worked with. Welles took target practice at Peter Bogdanovich, one of his biggest cheerleaders; Charlton Heston, with whom Welles made the classic Touch of Evil ; Elia Kazan, who \u201cnamed names\u201d during the Hollywood blacklist; \u00a0Josef von Sternberg (\u201cnever made a good picture\u201d); and many others.<\/p>\n

Throughout the book, Welles made some wild statements that knocked Jaglom for a loop\u2014and have the same impact on the reader.<\/p>\n

For example, he claimed that Carole Lombard\u2019s fatal plane crash was the work of Nazi sharpshooters\u2026in Nevada! Then there\u2019s the \u201cfact\u201d that Welles wrote Charles Chaplin\u2019s Monsieur Verdoux without credit, or that Peter Sellers wouldn\u2019t act with him in Casino Royale because he was jealous that Sellers\u2019 then-wife Britt Ekland liked him. According to Orson, writer Graham Greene had little to do with the film The Third Man. The filmmaker revealed that Welles almost ran for the Senate in 1952. And on and on.<\/p>\n

For film fans, this makes for great movie biz chatter. But there\u2019s a sadness that permeates My Lunches with Orson Welles throughout.<\/p>\n

Despite Welles\u2019 passion for magic, he was unable to pull off one last trick, even with the efforts of the ever-accommodating Jaglom. He never managed to raise the money to follow through with any number of the projects he had simmering in his later years. \u00a0There was his King Lear, shot in close-up, mostly in black and white; The Dreamers, an adaptation of Isak Dinesen writings; The Other Side of the Wind, a satire of Hollywood, whose rights were tied up with the Shah of Iran\u2019s brother-in-law; and his long-stalled Don Quixote picture, began back in 1956.<\/p>\n

Ironically, two dream projects did get made\u2014years after he died. Cradle will Rock, centering on Welles\u2019 staging of a leftist musical in the 1930s, was directed by Tim Robbins and issued in theaters in 1999. The Big Brass Ring, a political drama Welles wrote with partner Oja Kodar, was released in 1990 with William Hurt in the lead. Throughout My Lunches with Orson, Welles and Jaglom discussed the picture, and the choices for the key role of a Missouri gubernatorial candidate which may have helped secure financing. Jack Nicholson was interested, but wouldn\u2019t reduce his multi-million dollar salary; Welles deemed Dustin Hoffman and Al Pacino too ethnic; Jack Lemmon was too old.<\/p>\n

Even with an \u201cabracadabra\u201d from the great director, The Big Brass Ring remained sadly unattainable to him.<\/p>\n

(For more information: My Lunches with Orson: Conversations between Henry Jaglom and Orson Welles<\/a>)<\/p>\n

More movie articles on Orson Welles:<\/p>\n

The Trial (1962) Movie Review<\/a><\/p>\n

Touch Of Evil Movie Review<\/a><\/p>\n

Touch of Evil (1958): Movie Review:<\/a> Second Review by guest Blogger Aled DeLarge<\/p>\n","protected":false},"excerpt":{"rendered":"

During the early ’80s, filmmakers and friends Orson Welles and Henry Jaglom made lunches at Ma Maison a weekly ritual, and the substance of their chats–particularly the one-time wunderkind’s acerbic observations on the industry–are now in book form. We’ve saved you a seat.<\/p>\n","protected":false},"author":31,"featured_media":37073,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[34],"tags":[1750,1522],"coauthors":[1707],"class_list":["post-37071","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-staff-notes","tag-movie-books","tag-orson-welles"],"yoast_head":"\nMy Lunches with Orson<\/title>\n<meta name=\"description\" content=\"My Lunches with Orson: MovieFanFare reviews the book My Lunches with Orson. based on conversations between filmmakers Orson Welles and Henry Jaglom.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.moviefanfare.com\/?p=37071\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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