Netflix Leaving: Hotel Rwanda and Leaving Las Vegas

2004's "Hotel Rwanda," starring Don Cheadle, is unfortunately expiring on Netflix Instant by the end of the month. The film is a harrowing experience. Called the "African 'Schindler's List'" on more than one occasion, the film is about the real-life Rwandan genocide that took place as recently as spring '94. An estimated 800,000 (mainly Tutsi) were killed by Hutu extremists. Both "Schindler's List" and "Hotel Rwanda" tell the uplifting and hopeful side of disturbing real-life events and focus on one man who risks his own neck to save the lives of many. Don Cheadle plays the hotelier Paul Rusesabina, who tries to rescue his fellow citizens by allowing them to take refuge in his hotel. His performance is powerful yet subtle. Nicke Nolte is also (as usual) equally great in it. He plays a colonel of the UN Peacekeepers. His character is not allowed to intervene on the genocide. I watched this in 2004/2005 in Portland, Oregon with some friends from college. Roger Ebert put my experience into words perfectly: "The film works not because the screen is filled with meaningless special effects, formless action and vast digital armies, but because Cheadle, Nolte and the filmmakers are interested in how two men choose to function in an impossible situation. Because we sympathize with these men, we are moved by the film." One of the greatest things about the film that I can remember is that the film does not show brutal violence. It mostly focuses on its aftermath. It's use of music leaves much to be desired in that it's very conventional. There are some scenes that are contrived, but overall the film is worth watching. Check it out on Netflix Instant before it's too late. It is an overwhelming experience that boldly forces you to reflect on global responsibilities.

Mike Figgis's 1995 bittersweet, tragic romance "Leaving Las Vegas," featuring one of the best (if not the best) performances by Nicolas Cage, is, alas, also leaving Netflix Instant. The film tells the autobiographical story of John O'Brien. Nicolas Cage plays a Hollywood screenwriter who dumps everything and now plans to drink himself to death in Las Vegas (O'Brien killed himself shortly after filming began). In Las Vegas he meets a prostitute (Elisabeth Shue) with an abusive pimp. The film focuses on these two sad, self-destructive individuals in their relationship, which surprisingly seems very loving. Figgis used 16mm to shoot with, composed his own (fantastically moody jazz) score, and was forced to avoid cops on The Strip as filming permits were not allowed. It is a shoestring Indie that accomplishes what it sets out to do with fervor. The film succeeds because it sticks to the principle of observing the behavior of these two individuals from a sort of objective distance. We don't "see" into their minds, and the film is not trying to pretend they can be saved. There's never a moment in the film where it gives the viewer false hope that Cage's character won't kill himself and that Shue's character will save him with her love. It's my favorite kind of narrative-based film-making. Think "The Wire" rather than "The Sopranos." The score compliments the film exceptionally well. On the whole, the film is both charming and disturbing. Sometimes I think of it as a Lynch film that takes place in the real world rather than the Lynchian universe. The film is an exception to the rule that critics like sad endings and audiences only like happy endings. It did quite well both critically and at the box-office. You'll surely fall in love with this film. Be sure to check it out before it's too late.

Netflix Instant: Pulp Fiction and The Future

Quentin Tarantino's 1994 "Pulp Fiction," one of the most influential movies ever made, is now on Netflix Instant. As with many Tarantino flicks, "Pulp Fiction" unfolds non-linearly (but it's not as jumbled as one might expect having become accustomed to this device with more recent films, e.g., "Memento"). Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer) eat a late breakfast at a diner. They decide to rob it. The credits roll. Much earlier that day, Samuel L. Jackson and John Travolta, who play two L.A. mobsters, are on their way to make a hit for their boss Marsellus Wallace (Ving Rhames). They discuss many things in fast and witty Tarantino dialogue. Chiefly, they discuss a rumor that Marsellus Wallace threw a dude out of a window for giving his wife---Mia (Uma Thurman)---a mere foot massage. When they get to the site, Samuel L. Jackson's character makes the hit after reciting Ezekiel 25:17. Later in the afternoon in a empty cocktail bar, boxer Butch (Bruce Willis) accepts money from Marsellus to throw a fight. And so begins a story with a lurid subject matter. When I first watched this film, I was blown away as it was as novel to me then as it was to the film world in 1994. I still really like it---it's my 5th favorite Tarantino piece---but I admit it's lost some of its luster for me over the years. Some sequences---especially the one involving bondage and rape---now seem to me to be acts of desperation on the part of an immature filmmaker. And though I can generally laugh about Tarantino's acting (I actually liked him in last year's "Django Unchained"), "Pulp Fiction" must feature the worst acting from Tarantino. Many critics place this as the number one film of the year and/or decade, whereas I would say films like Wong Kar-Wai's "Chungking Express," Kieslowski's "Red" and "White," or Bela Tarr's "Satantango" (depending on my mood) easily take the cake for 1994. Even films like Terry Zwigoff's "Crumb" and Tim Burton's "Ed Wood" continue to radiate upon reviewing better than "Pulp Fiction." Still, "Pulp Fiction" is a wonderful film that cannot be missed by any one up for adventurous film-making. The film is especially fun for film-lovers because of its references to other films such as "Band of Outsiders," "Deliverance," and "Deer Hunter" to name only a few. I had the pleasure to finally see it in theaters during the "20 years of Tarantino" celebration last year. The glorious long takes and pop-literate conversations were all the more engaging. It made me think that "Pulp Fiction" should only be seen on the big screen. But, alas, that's difficult or near impossible for most. Hey, at least there's Netflix!

Miranda July's 2011 "The Future," starring Miranda July and Hamish Linklater, is also streaming on Netflix this weekend. To use an overly used word to describe this kind of movie: "The Future" is a quirky little film. It has something like the feel of a Wes Anderson film with a touch of magical realism. The premise is quite silly but fun. Sophie (July) and Jason (Linklater) are two 35 year olds of a four year relationship in L.A. They're used to each other but seem to fit together like hand in glove. They decide to adopt Paw Paw (who occasionally narrates the story), an injured cat at a local shelter, in a month. They do a little bit of weird reasoning (“We’re 35 now ... by the time the cat dies, we’ll be 40 ... and 40 might as well be 50 ... and after that, spare change.” “Spare change?” “Less than a dollar---not enough to get anything you want …”) and come to the conclusion that this is the last month of real living that they have in their future. So they decide to drop everything and do whatever the universe tells them to do instead (they're better at this than Tobias from "Arrested Development" in that they actually seem to pay attention to the signs). All of the characters are, shall we say, a little off, but it's a treat to let July take us on her ride. She creates her own world, and, in that world, examines love, time, and death. In this regard it's not unlike Terrence Malick's "Tree of Life," which also came out that year. Though "The Future" is not as successful as "Tree of Life" in its meditation on such heavy themes. Some plot parallels and themes are not emphasized enough, I think, and, moreover, there isn't a core to hang on to like childhood in Malick's film. It's difficult to become emotionally engaged with the couple as they are mostly seen doing things independently of each other. There's enough there to infer the stakes and the love in their relationship. I just don't think it's enough for the kind of emotional impact needed to make "The Future" a lasting experience like "Tree of Life." The ending is perfect though. July's subtlety is much appreciated. It leaves open both how we should feel about the couple's future and their relationship and the interpretation of how Sophie and Jason feel about their future and relationship. I've seen both of Miranda July's films (the other being "Me and You and Everyone We Know," which I will review someday), and I must say that I look forward to her next film. She's a fresh new female voice that is much needed on the contemporary movie-scape. Give this film a whirl on Netflix Instant!

A Favorite: Seven Samurai

Akira Kurosawa's 1954 masterpiece "Seven Samurai" is my 21st favorite movie of all-time, my 2nd favorite film of the director, and my 9th favorite film of the 50s. Typically I review "Netflix Instant" movies and occasionally "Theatrical Releases." Well, this is neither. This is the first movie I'm going to review that's just a plain old review of one of my favorites. I recommend you get your hands on it in anyway possible. Even if you've already seen it, this film is worth sitting down for a very quick 3.5hrs again and again. If you haven't seen it, there are some spoilers ahead. The story is divided into four parts: the setup, complications and resolution, development, and, finally, the climax. First we see a small village of farmers who discover bandits will descend on them soon after the harvest. Some of the villagers go to the patriarch of the village, Granddad. His idea is to go into a nearby town and bring back hungry samurai-for-hire to help protect them.

A group of farmers goes to the town and finds that hiring samurai is much, much harder than expected. The samurai they first come across are either just plain mean or weaklings. However, soon they begin to find willing and very able samurai scattered among the town. We're introduced to each of them in every way from comical to bad ass. The first shaves his head to trick a thief into thinking he's a monk in order to bravely save a child from his clutches. The second is just a young samurai who looks up to the first. He seems like a rich kid (though not at all a spoiled brat) who ran away to look for a master. The third and fourth are some rather plump samurai who are nevertheless trustworthy allies as well as perfectly able (the test the first samurai gives one of them is quite funny). The fifth (my favorite) is seen reluctantly destroying a fool in a sword battle, and the sixth is more of a comedian than a samurai (they find him chopping firewood with great concentration and decide he's good enough). And, of course, the seventh is played by the great Toshiro Mifune. He's the outsider of the group. It's likely he's never been in a real fight, but has more gall than all of them.

In the development phase of the movie, the six samurai, well, and Toshiro Mifune's character, return to the village and prepare for the bandit's attack. During this part we learn more about all of the samurai and some key villagers. This is also the time where secondary aspects of the situation are fleshed out. Suspense is built as the final part is delayed. Once we know everything we need to know about the stakes and about how well-prepared the village is for bandit onslaught, the final part, the climax, begins. Now we just watch as their plans work.

Perhaps surprisingly, this was Akira Kurosawa's first samurai film. He had originally wanted to make a film about a day in the life of a samurai, but he later discovered a story about samurai defending a village. It was originally going to be "Six Samurai." Then during the writing of the script Kurosawa and the other writers decided "six sober samurai were a bore---they needed a character that was more off the wall." Enter Toshiro Mifune's character, the seventh samurai. Through improvisation, Toshiro Mifune, a master actor, does indeed create an off the wall character. Sometimes during the fight scenes it looks as if he learned to fight by watching monkeys.

Earlier I said that this was a "very quick 3.5hrs." The fight and battle sequences, scattered throughout, are visceral and the character development and character complexity is so interesting that those hours of your life will fly by. What's perhaps most interesting in the film is the continual questioning of what's/who's good and what's/who's bad. In one scene, Toshiro Mifune's character angrily argues that the samurai have been abusing and exploiting the peasants for centuries. Are they bad or good? Are the bandits bad or good? Are the villagers bad or good? Are particular individuals bad or good? The film plays around with notions of good and evil making the viewer question along with it. This makes for an exciting movie even without all the action. In the end it's obvious that the samurai were a lesser evil than the bandits, that is, at least for this time slice of the village. After they're job is finished, they are no longer needed nor wanted by the villagers.

Theatrical Release: Prince Avalanche

Unfortunately David Gordon Green has failed again. Not since "George Washington" has he created something worth watching unconditionally. Though touted by some critics as his comeback film, "Prince Avalanche" is yet another disappointment from the director. The film tells the story of two road repairers, Alvin (Paul Rudd) and Lance (Emile Hirsch), in the aftermath of a raging forest fire somewhere in Texas. They're, as is cliche, polar opposites. Alvin is a wannabe man's man who enjoys solitude and caring for his girlfriend (Lance's sister) by sending checks. Lance is an immature dumb oaf who just wants to get laid on the weekends. Well, one weekend comes and goes. Alvin gets an upsetting letter from his girlfriend, and Lance fails in his mission to get laid. They're both alarmingly upset about what's happened to them, they fight/bicker, and yet (cliche) they develop a close bond.

The film tries to strike a balance between hardcore (or mumblecore) indie and laugh-your-ass-off (or not if you're this writer) Judd Apatow film. It fails horrendously in this regard. It feels like it has no idea what it's trying to accomplish and the tone is all over the place. This makes for particularly awkward viewing. I think what's worse about the film is it fails to be authentic. The whole time, Paul Rudd and Emile Hirsch feel stiff. You might think that the fact that much of the dialogue is improvisation would give some air of realism to their performances. However, it feels like the director turned on the camera and Rudd and Hirsch just say a whole lot of nothing.

Finally, the cinematography is off and on. Occasionally DP, Tim Orr, gets mood and beauty right. For instance when Alvin is fishing, Lance is swimming, the two are drinking and riding in a wheelbarrow, or Alvin is walking away in slo-mo crying, the film is as beautiful as anything you've seen this year. But for the most part, I was asking myself "How was he so good at shooting 'George Washington' and so bad here?" The hand-held stuff was terrible. You either have to move that camera slow or fast; not in-between speeds. I can't register it, and it's too fast for my eyes not to try. Finally, what looks like post-production zooms, were hideous. They did not do it for me. And for all of his attempts to get some of his original Malick influence in the film, Green is afraid to hold a shot for longer than a few seconds. In a film that tries to be part reflective about nature and the growing bond between two chaps, I found myself reflecting more about shoddy film-making instead.

But don't get me wrong, it's not all bad. It's definitely not the worst thing I've seen this year (that award definitely goes to "Trance"). There are some laughs, and the score, while not riveting, is interesting. Two supporting characters, a trucker and an old woman, steal the scenes they're in. The trucker always has fantastic Texas trucker things to say. The scene with the woman in her old burned down house is quite moving, even when the camera movement fails to be easy or interesting to watch. The pacing of the story-telling is fantastic, even when individual shots appear and disappear in an instant. The ending shots are the best part, not because it's the end of a mediocre film (well that too), but because it shows authentic people in the aftermath of the fires. I found myself going, "I would have much rather watched THAT film." Perhaps I could recommend it to those who are big fans of Paul Rudd (though it's not really the kind of comedy one might have come to expect to see him in) or those that want to see what watered down indie film looks like. However, I wouldn't recommend spending the money to see it in theaters like this old fool did.

Theatrical Releases: Blue Jasmine and Computer Chess

Woody Allen's new movie "Blue Jasmine" is now playing in theaters. It tells the story of the past and present of New Yorker, Jasmine (the fantastic Cate Blanchett). We see parts of her past---times when she was living as a rich socialite married to Hal (Alec Baldwin)---but the present of the film takes place after that life has been destroyed. She moves in with her sister, Ginger (Sally Hawkins), who lives in San Francisco, and attempts to get back on her feet. She's become an alcoholic and has very dark, dark psychological problems (these aren't the typical light anxiety problems you find in a Woody Allen picture). As the film plays, we, the viewers, watch her struggle to get back on her feet and try to figure out just how she became who she is now. This makes for fun, entertaining, even if sobering at times, viewing. However, the film would not be nearly as good if it weren't for the courageous and stunning performance of Australian actress Cate Blanchett. She pulls off playing the kind of woman you'd expect to be married to a Madoff-type so superbly without (as is typical) much guidance from Woody Allen (that's just his directorial style). After seeing the film, it's no wonder there's already some Oscar buzz about her performance. In fact this is the primary reason to see the film. It should also be said, however, that most of the supporting cast (I say "most" because Alden Ehrenreich, who plays Jasmine and Al's son, can't act to save his poorly written character; more on this anon) is really outstanding is well. All of Jasmine's lovers, Hal and Dwight, and all of Ginger's lovers, Augie, Chili, and Al, are all incredibly acted by Alec Baldwin, Peter Sarsgaard, Andrew Dice Clay, Bobby Cannavale, and Louis CK. The cinematographer, Javier Aguirresarobe, who shot "Vicky Christina Barcelona" captures both what you think of when you think "San Francisco" but also the beauty of Cate Blanchett, even when she's completely falling apart in a little humble San Francisco apartment. You get all of this, complete with Woody Allen's excellent ability to mix comedy and drama, when you buy a ticket for "Blue Jasmine." However, there are flaws.

Like with some of Woody Allen's other recent films (barring "Match Point," "Vicky Christina Barcelona," and "Midnight in Paris") I wished he would've taken a year or two (as opposed to half a year) to write the script. Sometimes the movie feels clunky in the same way a first draft feels, even though this first draft clearly has something going for it. Hal and Jasmine's son is completely underwritten and one-dimensional. His motivations for his actions and the way his actions are carried out are unclear and, at best, distracting from the main storyline.  Some parts of the story feel contrived merely to move the story in the direction Woody wants it to go instead of allowing it to flow and develop naturally. Parts of the script, like the beginning where Jasmine is explaining her past to a woman on a plane, are uncomfortable and above all unnecessary. Indeed, most of the first 30mins or so is a flashback making all of that awkward monologue superfluous. Nevertheless, despite some of its clunkiness in parts, the climax and ending are fantastically ambiguous as far as understanding the character of Jasmine goes. Woody Allen creates a great character study and leaves it open to the viewer regarding what to think of her. It's almost as if he created this movie to figure out people like this and in the end he offers us no answer. The movie is better for this. Too often character study films are made that have obvious moral tones. I recommend it to fans of either Woody Allen or Cate Blanchett. It's my fourth favorite movie of the year so far.

My second favorite movie of the year so far is Andrew Bujalski's period mockumentary of sorts "Computer Chess." The director is somewhat of a big deal in the film movement, mumblecore. Indeed he is known as the "Godfather" of the movement. Mumblecore films are characterized by naturalism in the sense that non-actors are typically used in order to get a very real feel in both performance and dialogue. The films are also often cheaply made, being shot digitally rather than with film.  Mumblecore movies have never struck a deep cord with me. Usually it has nothing to do with the style, but, rather, with what the movie's about or whether it's well-made in a general sense. Now I don't think it takes a lot of money to make a good film. I just think most of the ones I've seen are not well-made. However, films like "Cold Weather" and "Computer Chess," the latter of which played last week in Phoenix, are different. Granted these films and, perhaps, especially "Computer Chess" are not for everybody (two ladies left within 20mins). However, if you're a certain kind of nerd who enjoys a certain kind of extremely dry sense of humor, then "Computer Chess" is sure to be a treat. The film is shot with technology readily available during the time period in which the story takes place, the 80s. The film looks like the black & white versions of the home movies I grew up co-starring in with my family. The film is about a convention for pitting computers against computers in games of chess. The convention and the scenes pretty much entirely take place within a hotel. What was really fascinating for me, was how spot-on Bujalski captures nerd spirit. Seriously, I've been in similar situations with very, very similar characters at the academic conferences I've been to. I couldn't get enough of just how accurate the script and some of these non-actors were.

Though at the start it feels more like an ensemble, one star emerges, Peter (Patrick Riester). Peter's "arc" is really fantastic. Peter is an anxious young computer programmer who really wants the software he's been working on to stop losing. He spends most of his time diagnosing what the problems might be, sometimes with his adviser (who talks him into confusion) and other times all night with one of the members of an opposing team (the only female at the convention, which is a big deal and hilariously over-emphasized). Peter often finds himself in situations where he is not the dominant personality. In one part of Peter's story, he finds himself "in bed" with some pushy New Agers, for instance! Other fantastic characters include Papageorge and Les. Papageorge is a luddite who doesn't want to admit he didn't book a room. He spends most of his time orbiting around the hotel in the hopes someone will let him stay with them, despite the fact that he's against all this computer nonsense. Les is a British programmer complete with great little character traits like popping his collar after hours. He's also adamant about not drinking more than three scotches. "Any man can program his way out of anything on three scotches." All in all, this made "Computer Chess" one of the most charming and funniest movies I've seen in awhile. It's unfortunate that these movies typically only get one week runs in theaters. If you know me though, I'll keep you updated on how you might be able to feast your eyes on "Computer Chess" via the interwebs.

Orange is the New Black (Season 1)

Whelp, folks! Netflix has done it again. This year they've brought us original and semi-original content and it's been mostly awesome (see "House of Cards" and "Arrested Development," Season 4). ("Hemlock Grove" was a bit of terrible, but you can't hit every time.) Jenji Kohan's "Orange is the New Black" is another dose of awesome. I've just finished the season, which is completely available on Netflix Instant. I must admit I had my doubts going in, as I hated "Weeds." However, right from the first episode I really liked "Orange." The show is based on the memoirs of Piper Kerman. The premise of the show is that a woman gets caught for being a drug mule one time 9 years ago and now she must serve a year in prison. The show chronicles her stint in the big house while she tries to keep in touch with loved ones (chiefly her fiancee) in the real world. The show's lead, Taylor Schilling (she plays Piper Chapman), is a fantastic during both the show's dramatic and comedic moments. In fact, the entire cast of characters are both supremely written and superbly acted. Not since "The Wire" have I thought "Man, every character is well-rounded and interesting in this show!" Speaking of, I doubt Snoop from "The Wire" would get along with any of these gals in this fictional prison, but there's a different side of reality that Kohan and Kerman are trying to depict here. Rather than the gritty reality of the prison system from top to bottom, the prison is really a backdrop for exploring more universal themes of being human and, specifically, being a woman. Also speaking of, Pablo Schreibler plays a dirtbag, scuz prison guard, and he's really, really good. He's the bad guy you love to hate.

Other cast members that surprised me (in a good way) include Jason Biggs, Laura Prepon, and Kate Mulgrew. Jason Biggs plays Chapman's fiancee and he does so with poignancy. He's confused but very modern in how he treats the situation. A breath of fresh air even. Laura Prepon plays Alex Vause, the drug lord who got Piper Chapman into this whole mess in the first place. She's the kind of very confident, complex female character that's lacking in most film and TV these days (even "House of Cards" had trouble with their female leads). Finally Kate Mulgrew's "Red" is so, so good. She's a Russian who pretty much runs things from within the kitchen. She's the Queen Bee, if you will. She steals every scene she's in. And although I would've liked to see more of the adorable Morello (Yael Stone), increasing Pennsatucky's (Tayrn Manning) on-screen time was such a good move. OH MAN! That finale was fantastic! Check out all of these characters and more (seriously! they're all so interesting and watchable) on Netflix Instant! The second season is already in the works!

Manhattan and The Trial (again)

I wanted to review/recommend Woody Allen's 1979 classic "Manhattan" again because (a) it's one of my all-time favorite movies and (b) I get to go see his "Blue Jasmine" this weekend! There's so much to say about this movie from the opening sequence to George Gershwin to the glorious black & white cinematography by the Prince of Darkness (Gordon Willis) to the bittersweet ending. The most famous shot is the bridge shot, done at five in the morning. Apparently, the crew had to bring their own bench to that location and some of the lights on the bridge went out as the started to shoot the scene. Woody Allen stars as Isaac Davis, a television comedy writer who wants to write a book about his love for NYC. He romanticizes it all out of proportion. He is dating Tracy (Mariel Hemmingway), and his friend Yale Pollack (the awesome Michael Murphy), who incidentally is married, is having an affair with Marie Wilkie (my favorite female actress in her best role, Diane Keaton). One of Isaac's ex-wives, Jill Davis (Meryl Streep), is writing a book about their marriage and has recently come to realize that she's a lesbian. Everything that you've come to love about a Woody Allen romp is here. It's a deeply moving yet hilarious musing on love, guilt, and life. All of the characters are well-written, complex individuals who all embody a bit of the real Woody Allen in different or similar ways (they all of some anxiety issues, for instance). If you only see one Woody Allen movie your entire life, this is the one. Check it out on Netflix Instant where it awaits patiently for you.

Another classic available on Netflix streaming is Orson Welles's 1963 underrated masterpiece "The Trial," starring Anthony Perkins ("Psycho"), the master himself, and the beautiful Jeanne Moreau ("Jules et Jim"). I wanted to review/recommend this again because it's so awesome and my "Old Review" did not do it much justice. Welles reportedly said that this was the best film he'd ever made. I don't agree (that goes to "Touch of Evil"), but damn was I surprised about how good it was. I really shouldn't have been, but given all the press on "Citizen Kane" and "Touch of Evil," for awhile there it felt like that's all ole Orson did. But over the years I've seen "The Magnificent Ambersons," "The Stranger," "The Lady from Shanghai," "F for Fake," and this. I must say the man knew how to make a movie and act. This film is set in Europe and the set design and cinematography is where it's at. Welles ability to find unique angles and focus started all the way back with "Citizen Kane," but he never ran out of fantastic tricks up his sleeve. To say much of anything about what it's about, other than it's based on Franz Kafka's brilliant novel, would ruin the strange pleasure of just turning it on and jumping into the middle of this man's surreal life. The main themes are being out of control, alienation, and isolation. Welles depicts this so expertly by isolating Perkins's character in strange sets and shadowy streets. The film is really a dark comedy. It has one of the most memorable Orson Welles sequences ever, I think. He plays a bedridden, crazed, good-for-nothing lawyer. It's quite hilarious in only the way big ole Orson could be. Perkins is perfect for the main role as well. He's consistently confused and portrays vulnerability so well. He's a victim of seemingly random events, but he doesn't let his character become unrealistically random at anytime (except for maybe the end, which is fantastic). Be sure to check out this fascinating piece from the genius mind that was Orson Welles.