Mr. Arkadin

***Note: The main body of this review is based on the 99-minute Corinth version of Mr. Arkadin as there are three available versions of the film here in the U.S.***

Written, directed, costume design, art directed, and co-starring Orson Welles in the titular role, Mr. Arkadin (Confidential Report) is the story of an amnesiac billionaire who hires a smuggler to investigate his life including own life as it leads to chaotic trip around the world. Based on radio scripts Welles co-wrote with Ernest Bornemann as well as parts of Graham Greene’s The Third Man and the Harry Lime radio programs Welles did in the 1950s. The film is an offbeat mystery that play into a man’s identity as he meets a smuggler to try and piece everything in his life. Also starring Robert Arden, Paola Mori, Patricia Medina, Akim Tamiroff, Gregoire Aslan, Jack Watling, Mischa Auer, Peter van Eyck, and Michael Redgrave. Mr. Arkadin is a fascinating and strange film from Orson Welles.

Set in Europe, the film revolves a smuggler who witnessed a murder where he learns the murder is connected to the reclusive billionaire in Gregory Arkadin who would ask him to go on a journey to find out about his own life before 1927 believing he has no recollection of his life before he became a billionaire. It’s a film with a simple premise yet it is filled with complexities, twists, and turns where this young man is given a task to learn about this billionaire where there are so many things that would confuse him. Orson Welles’ screenplay is largely told by the smuggler Guy Van Stratten (Robert Arden) to a man named Jakob Zouk (Akim Tamiroff) who has just gotten out of jail and has some connection towards Arkadin. Van Stratten’s story begins in Italy where he and his girlfriend Mily (Patricia Medina) witness a murder as Mily gets information from the dying man as it relates to Arkadin.

Arriving in Spain where Arkadin lives, he meets Arkadin’s daughter Raina (Paola Mori) as he falls for her and later meets Arkadin who gives him the job due to Van Stratten’s reputation for smuggling. Arkadin gives Van Stratten instructions and conditions for the job with the one being for his daughter to not know anything about his past. Throughout this chaotic journey around the world including stops in Mexico, Tangiers, Germany, and other parts of the world. Van Stratten deals with not just the many stories about Arkadin but also the people he meets as they all have an idea of what he did before creating this air of confusion.

Welles’ direction is stylish for the intrigue that he creates as it is shot largely on various locations in Spain along with scenes set in Paris, London, Munich, the French Riviera, and the Chateau de Chillon in Switzerland. The film is a whirlwind of visuals as Welles would create a lot of stylistic shots from not just a few slanted camera angles but also some low camera angles to play into the towering presence of Mr. Arkadin. Welles’ usage of wide shots play into the vast locations that Van Stratten would be as it does feel like a film that took place around the world as there are these moments of Van Stratten in different places. The close-ups and medium shots that Welles uses in Van Stratten’s meetings with those who might know about Arkadin as there are also these moments that are offbeat yet intriguing. There is an element to the film that is messy as it relates to Van Stratten’s journey as he’s unaware that Arkadin is following him where it does hinder the film’s pacing a bit in some places.

Serving as the film’s costume designer and art director with help from set decorators Gil Parrondo and Luis Perez Espinoza, Welles would create a look that play into this lavish world that Arkadin is in as he often hosts parties where he is mysterious where no one is sure where he is. Welles would also showcase these moments that play into the mystery and the need for Arkadin to not let it go out for his daughter to know. Especially in a thrilling climax that is this race to reach Raina between Arkadin and Van Stratten as there are also these complexities into the fact that the latter knows that is his own life is on the line after being aware of how dangerous Arkadin has become. Overall, Welles crafts an exhilarating and provocative film about a billionaire who hires a smuggler to find answers about his past.

Cinematographer Jean Bourgoin does brilliant work with the film’s black-and-white photography as it creates a mesmerizing look for some of the exteriors in the day and night along with the interiors at night. Editor Renzo Lucidi does excellent work with the editing as its usage of stylish dissolve montages and rhythmic cuts help play into the suspense. The sound work of Jacques Lebreton is terrific for the sound effects that are created along with some of the natural sounds although some of the post-dubbing synchronicity is off in some parts of the film. The film’s music by Paul Misraki is fantastic for its playful orchestral score that has elements that are light and upbeat to play with the locations in Spain to some eerie pieces for the film’s third act.

The film’s marvelous cast include some notable small roles from Gert Frobe as a Munich detective, Eduard Linker as Munich policeman, Tamara Shayne as a woman who hides Zouk, Frederick O’Brady as a junkie who knew Arkadin in Oskar, Katina Paxinou as the mysterious Sophie who knows about Arkadin’s past, Suzanne Flon as a socialite friend of Arkadin in Baronness Nagel, Peter van Eyck as a man Mily meets in Tangiers with information about Arkadin, Michael Redgrave as an antiques dealer in Burgomil Trebitsch, Mischa Auer as a mysterious professor who runs a flea circus that knew Arkadin, Gregoire Aslan as the man that Van Stratten meets in Italy who is killed early in the film, and Jack Watling as an aide of Arkadin in Bob the Marquess of Rutleigh. Akim Tamiroff is superb as Jakob Zouk as a man that Van Stratten tells his story to as he also carries some crucial information about Arkadin yet remains in hiding.

Patricia Medina is fantastic as Mily as Van Stratten’s girlfriend who has some information that she received on the night of the murder that she and Van Stratten witnessed as she also knows Arkadin and warns Van Stratten to not get too close. Paola Mori is wonderful as Arkadin’s daughter Raina as a young woman who wants to have some freedom but is also concerned about her father’s domineering persona as Mori’s voice is dubbed by another actress. Robert Arden is excellent as Guy Van Stratten as a smuggler who gets Arkadin’s attention as this young man that is trying to woo Raina only to be given this immense assignment filled with confusion and befuddlement. Finally, there’s Orson Welles in an incredible world as the titular character as this billionaire that is bigger than life itself as he’s elusive yet playful but also has this dark element to him that showcases a man that is obsessed with wanting to protect his secret.

***The following is an overview of the 98-minute European version of the film known as Confidential Report***

Considered the best version of the film in terms of its visual print as the film was transferred from 16mm to 35mm, the film that was re-edited under the supervision of producer Louis Dolivet is a different take on the film though not much of it has changed from the Corinth version. Aside from the voice-over narration of Van Stratten which is more prevalent in this film than in the Corinth version which was based on Van Stratten telling Zouk his story as the narrative moves back and forth. In this version, it’s more of Van Stratten telling the story through voice-over narration. Other key elements that is changed in the film includes an extended monologue from Arkadin at the masquerade ball that play into his fascination with lore and death. Another major change in the film that is different that relates to its second act is order of film sequences.

Notably when Van Stratten travels around the world as he would meet the professor and later the antiques man in this version while the scene of Mily at Arkadin’s yacht appears after Van Stratten meets the antiques man. It’s a version that has an improved pacing and looks better though it still has a few flaws such as the post-synch dubbing and other messy moments in the film.

***The following is an overview of the 2006 105-minute comprehensive version from the Criterion Collection***

Compiled by Stefan Drossler from the Munich Film Museum and Claude Bertemes with the aid of film critic/historian Jonathan Rosenbaum and filmmaker Peter Bogdanovich from various different versions of the film. It is the longest available version that is closer to what Welles had intended for the film as it has a different opening of a dead body lying on the beach as well as an ending that relates to a plane about to crash. The film itself feature an array of footage from different versions as it does play into the structure of the Corinth version with its usage of flashbacks but it has a few extended moments such as the sequence at the docks in Italy.

While there’s shots in the film that doesn’t match with parts of the film in some scenes due to the source material was used in the other films. The pacing of the film is better while there is also an element of the film that does feel fragmented which is an advantage to its pacing. It’s a film that still has a few issues in terms of the post-synch dubbing that doesn’t match up with the actors but it isn’t as noticeable in comparison to the other versions. Of the three, it is the best version in terms of its pacing and gathering everything that is needed in the story no matter how flawed it is.

Mr. Arkadin is a marvelous film from Orson Welles. While there will never be a definitive version of what Welles intended, the three versions of the film from the Criterion Collection in their different running times and presentation is still a fascinating suspense film that play into the idea of obsession and identity. Even as it showcases a story told in different versions of a man trying to find clues of a man’s past and lose himself in this journey. In the end, Mr. Arkadin is a remarkable film from Orson Welles.

Orson Welles Films: Citizen Kane - The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story – F for Fake - Filming Othello – The Other Side of the Wind

Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2018

The Wages of Fear

Directed by Henri-Georges Clouzot and written by Clouzot and Jerome Geronimi that is based on a novel by Georges Arnaud, Le Salaire de la peur (The Wages of Fear) is the story about four European men carrying nitroglycerine to extinguish a fire at a South American oil well through treacherous terrains. Starring Yves Montand, Charles Vanel, Peter van Eyck, and Folco Lulli. Le Salaire de la peur is a gripping yet mesmerizing suspense film from Henri-Georges Clouzot.

A group of foreign men are in a South American town taking odd jobs to get by as they’re seeking for some bigger job at a nearby American oil company. Arriving into town is an ex-gangster named Jo (Charles Vanel) where he meets a young Frenchman named Mario (Yves Montand) as Mario shows him around town. While Jo tries to make some deals with the company foreman Bill O’Brien (William Tubbs), Mario tries to flirt around with the bar’s waitress Linda (Vera Clouzot). Though Jo is seen as the big shot, he’s not favored by everyone including the hardworking Luigi (Folco Lulli). When news of an explosion at an oil well that has killed four men, O’Brien needs four men to drive two big trucks filled with nitroglycerine to stop the fire. Mario and Luigi are hired along with a Dutchman named Bimba (Peter van Eyck) and a German named Smerloff (Jo Dest).

When Jo manages to smooth his way to take the job, he joins Mario on the first truck while Bimba and Luigi drive the second as they go through the treacherous terrain to the oil well. The four men take turns to drive though it’s clear that despite Mario’s admission to being scared and his need for Jo to help him. Jo becomes ill and starts to become fearful while the four men go through many dangers including and old mine and a huge rock blocking the road. The ordeal would be tough on all four as Mario is forced to deal with Jo’s sudden behavior as it becomes erratic. With a bigger challenge emerging, Mario ponders about the journey he’s been through.

The film is about four guys trying to find some big payoff by taking on this big job. Yet, the job means having to go into a suicide mission carrying an entire truckload of nitroglycerine through these horrific terrains and roads that leads to the big oil well so that a fire can be stopped. Still, there’s the journey where it becomes more than just dangerous on a physical level but also from an emotional and mental perspective. The four men would deal with their own fears and how to handle situations where one would fall apart as his partner is forced to try and get him to calm down.

The screenplay that Henri-Georges Clouzot and Jerome Geronimi create is about these men in the world they live in as the film has a structure that is very different. The first half is about the men themselves and their own lives as they each try to deal with trying to find work and live in this very poor South American town. One of the men is a kind laborer hoping to return to Italy while the other is an intense yet quiet Dutchman who spent his years working in the salt mines. Then, there’s these two different Frenchmen as one is a young playboy while the other is an aging ex-gangster. The first half of the film spends a lot of time with the two men along with various others all trying to find some work and make some money in this poor town that is run by an American oil company. While the company are seen as villains, Clouzot nor Geronimi aren’t making some kind of political or social statement towards American corporations other than the fact that they are known for exploiting poor regions in the world.

By the time it gets to the second half, the film changes into this suspenseful yet thrilling adventure where it’s all about what to do on the road. That half is definitely a more engaging portion of the film because of what happens in the journey. Through these challenges such as a series of very dangerous roadways, a very narrow turn near a cliff, a rock, and later a big crater as they‘re all carrying an entire truckload of nitroglycerine, which makes the journey more dangerous. While two of them end up working together very well and manage to maintain some control, there’s two more that are dealing with other issues such as their own fears and to try and to get to their destination. The stakes become more intense as the journey progresses where there is something that’s going to happen. The script’s success is due to the structure of the film where the first half is about these four men and the second half is the journey and what they hope to gain from it.

Clouzot’s direction is very entrancing in the way he presents the film in its different ideas towards the narrative and story. The first half is a more lighthearted yet intriguing drama where there’s elements of melodrama and character study with dabbles of humor. The direction for the most part is quite straightforward but also dwells into the lives of these men and the people that surround them. There’s also some tension throughout that includes a showdown between the working-class Luigi and the more experienced yet successful Jo. The latter of which is a man that can slime his way into anything in hopes that there’s a big payday.

For its second half, the tone of the film changes as it becomes this more harrowing film where the journey is very dangerous. There’s a claustrophobia to the roads and locations they’re driving in as they’re either quite narrow or unsafe because it’s bumpy or has lots of potholes. The camera is always showing the tires and from a point-of-view of the driver. Clouzot’s direction becomes more direct towards what is happening as the action sequences are slow but captivating over what these four men could do in the situations they’re facing. The ending of the film revolves around what was accomplished but also what was lost as it moves back and forth into two different scenes leading to a climatic moment about all that had happened. The overall result in Clouzot’s direction is a film that is chilling but magnificent for its approach to suspense.

Cinematographer Armand Thirard does a great job with the film‘s black-and-white photography to exemplify the broad yet sunny look of the small town the characters live in to more haunting yet stylish look for some of the nighttime scenes. Notably the scenes in the road where the camera work is more engaging for the action as Thirard’s photography is a major highlight of the film. Editors Henri Rust and Madeleine Gug do an amazing job with the editing in giving a lot of the film’s first half some stylish transitional wipes to maintain a steady yet methodical pace for that section. For the second half, the pacing is a bit slower to maintain that element of suspense and chills as it’s definitely engrossing as it’s another of the films technical highlights.

Art director Rene Renoux does a very good job with the set pieces created such as the bar that many of the men hang out to the decayed mine that the four men had to encounter in their journey. The sound work of William Robert Sivel is brilliant for the raucous atmosphere of the city including the bar where there‘s music and dancing played. The sound for the film‘s second half is mostly sparse with only the noise of the truck and locations present in that section to emphasize on its suspense. The music of Georges Auric is superb for its haunting yet acoustic guitar-driven introduction in the opening credits while a lot of the music in the film ranges from Latin American folk and dance music of the time to classical pieces that’s played on location.

The casting for the film is excellent as it features some notable small performances from Luis de Lima as a young Italian man named Bernardo, Jo Dest as the German Smerloff, Dario Moreno as the bar owner Hernandez, William Tubbs as the American foreman O’Brien, and Vera Clouzet as the flirtatious yet dramatic Linda who is in love with Mario. Peter van Eyck is wonderful as Bimba, a Dutch miner who likes to keep things straight as he becomes the biggest risk taker when dealing with a huge roadblock that threatens the job. Folco Lulli is brilliant as the upbeat yet no-nonsense Luigi, a laborer that just wants to get paid and return home for a good life as he’s the most upbeat of the four men.

Charles Vanel is great as Jo, a former gangster who tricks his way into getting the job unaware of the dangers that he’s facing as he becomes a coward due to his illness and old age. Finally, there’s Yves Montand in a phenomenal performance as Mario. Montand brings a nice complexity to a man who is charming but mysterious man who likes to flirt with Linda while also being sort of cruel to her at times. Montand also shows a real everyman quality to a man who is determined to get the job done as it’s definitely a very captivating performance.

Le Salaire de la peur is a spectacular yet powerful suspense film from Henri-Georges Clouzet. Featuring a towering lead performances from Yves Montand, the film is truly one of the most engaging and compelling films ever made for its suspenseful action sequence as well as its devotion to get to know its characters. For anyone that is into suspense films should see this as an essential piece of how it should be done. In the end, Le Salaire de la peur is a haunting yet exhilarating film from Henri-Georges Clouzet.

Henri-Georges Clouzot Films: (Caprice de Princesse) - (Tout pour l’amour) - (The Murderer Lives at Number 21) - (Le Corbeau) - (Quai des orfevres) - (Manon) - (Miquette et sa mere) - Les Diaboliques - (Les Espions) - (La Verite) - (Grand chefs d’orchestre) - (La Prisonniere)

Related: Sorcerer - Henri-Georges Clouzot's Inferno

© thevoid99 2011