Word: callower
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...potentate William Randolph Hearst. Yet so controversial was Kane before its release in 1941, and so overwhelming its pressure on Welles' reputation, that it can be seen as the apex of his career, perhaps of Hollywood's Golden Age. It surely makes the man worth one more biography, Simon Callow's Orson Welles: The Road to Xanadu (Viking; $29.95), and the film worth a long documentary look, The Battle over Citizen Kane by Thomas Lennon and Michael Epstein, on PBS's The American Experience next Monday. These solidly researched works revive a thrilling era in American theater and film...
Kane's beguiling arrogance and neediness come straight from its creator. As Callow meticulously shows, George Orson Welles knew acclaim and misuse from early childhood. Declared a genius at three, staging Shakespeare in a toy playhouse at five, walking on water in his wading pool--the legend goes something like that--he was adrift in a strained family. His opera-loving mother died when he was nine, his suavely alcoholic father three years later. Welles would memorialize his mother in Kane and find father-sponsors in his prep-school principal, Broadway's John Houseman, RKO's George Schaefer. He would...
Like Kane, Welles exerted all his charm, bluster and infinite energy to win love. He was indeed a genius at getting theater people to do what he wanted. Callow admiringly calls Welles "a creative opportunist without peer," fashioning art from the sweat of many and daring to call it all his. A lifelong credit hog, Welles could indeed do it all. His sin was that he wanted people to think he did it all alone...
...Callow's book, which ends in 1942, the year after Kane, follows half a dozen earlier Welles biographies and precedes by a few months yet another, David Thomson's eagerly awaited Rosebud. Callow, a crafty English actor (he played the ebullient, doomed gay man in Four Weddings and a Funeral), excels at what must have been his most frustrating task: analyzing theater work he could not see for himself...
...Callow draws telling word pictures of Welles' early years. But to evoke a film, it helps to have moving pictures, and The Battle over Citizen Kane, which runs the lives of Welles and Hearst on parallel tracks until they collide in 1941, is a two-hour tornado of a documentary, with rare clips of the 1936 Macbeth, some quaint home movies of Hearst's costume parties, reminiscences by such Welles colleagues as lighting designer Abe Feder (still jazzy after all these years) and William Alland (who played the reporter in Kane). Best is the cogent narration, written by Lennon...