Most people think of psychotronic film as lowbrow. I don’t. I’m a film snob. And I love psychotronic film because it is generally the most authentic kind of film. There really isn’t much difference between psychotronic and art film. The difference is usually one of attitude (as well as budget). And the attitude of psychotronic filmmakers is generally better. But it shouldn’t surprise anyone that I love “art” films. (Note that I compared Death Bed: The Bed That Eats to Cries and Whispers.)
Finally: The Other Side of the Wind
For the last decade, I’ve had only one primary goal in live: to live long enough to see Orson Welles’ last film, The Other Side of the Wind. Indeed, I was not that big a Welles fan until I saw a couple of clips from the film back in the mid-1990s. It shocked me that an artist — late in his life — could create something so unique.
But over the years, I’d given up on the film ever being released. Then, just recently, I saw the following headline at Vox, There’s a New Orson Welles Film, and It’s Streaming on Netflix. I didn’t need to read the article. I just went to Netflix and entered, “The Other Side of the Wind.”
This is not a review. I’ve only seen the film once (at this writing — I’ve seen it a dozen times now) — and this is a film that needs to be seen multiple times. But even on this first viewing, it was captivating from the first frame.
Most people writing about it are turning it into some kind of psychological portrait of Welles. Maybe it is. Maybe every work of art is that for the artist. But what I took away from the film was its amazing visual palette. And the way Welles justifies this is by making the film about a party where Jake Hannaford (John Huston) is trying to get funds to finish his latest films. Thus, many reporters are there with tape recorders and 16 mm and Super8 cameras.
As a result, we get scenes shot with more than a half-dozen cameras — all of differing quality. Probably even more important, all these canny journalists are creeping around, getting incredibly intimate moments on film — the most heartbreaking are between Hannaford and his protégé Brooks Otterlake (Peter Bogdanovich). This was shot at a time when Bogdanovich really did feel that Welles had betrayed him and the performance is as raw as you will see.
The film-within-the-film is a pretty cliched European art film. According to Wikipedia, it is something of a parody of Michelangelo Antonioni. But whoever wrote that can’t have seen any of his films. It reminds me a lot more of Alejandro Jodorowsky, but that’s a great insult to him. Hannaford’s film seems to have been a general parody of bad art films. It even includes a balloon of a penis that is deflated when the star of the film (Oja Kodar) pricks it. I’m sure that Welles and Kodar (who co-wrote these scenes) must have laughed mightily when they came up with that!
What confuses me is the end. From my reading over the years, I understood that the film ended with Hannaford driving his car into the movie screen and dying. Maybe they didn’t have enough coverage — both Welles and Houston are long dead. But maybe I’m just misinterpreting the ending. Hannaford’s last scene is almost heaven-like — or indicating that he is on his way to heaven.
More to Appreciate
As I indicated, I’m going to have to give this film a lot more thought. But on a first viewing, it’s clear that it is up with Welles’ greatest cinematic works: Othello, The Trial, Chimes at Midnight, and F for Fake. If you like challenging (or just interesting) films, you must see The Other Side of the Wind.