See CJ Live In Sydney!

After presenting a sell-out series of three lectures at the Art Gallery of New South Wales earlier this year, I’m returning with a new monthly series of lectures, The Art of Cinema, so far programmed through the end of 2022 . You can book the whole series or individual lectures, and you don’t need to be a member of the AGNSW. All details and booking information here:

https://www.artgallery.nsw.gov.au/whats-on/events/art-of-cinema-series/

The Lectures:

Weds 24 August

THE ART OF FILM NOIR

Film noir is more than shadows, trench coats and femmes fatales. So what is it, exactly? How did it originate, develop, and what are its classic examples?

Weds 14 September

UNDERSTANDING CASABLANCA

It’s one of the most beloved films of all time; one of the most quoted, referenced, revived, rewatched, parodied and pinched from. But what is really going on in this staggeringly entertaining 1942 Warner Bros. classic? CJ offers an eye-opening deep read of a film you think you know.

Weds 5 October

THE CINEMA OF ORSON WELLES

Orson Welles has a claim to being the ultimate filmmaker as public figure, celebrity, star and auteur; his life was even more fabulous and dramatic than any of his unique films (including his masterpiece Citizen Kane). CJ offers an entertaining ride through an astonishing life and bumpy career.

Weds 09 November

THE FRENCH NEW WAVE

What exactly constituted this major 1960s movement? Who drove it, what films did they make, and how – if at all – did it change cinema?

WELLES FEAST

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THE OTHER SIDE OF THE WIND ****

THEY’LL LOVE ME WHEN I’M DEAD ****

It’s difficult to know, objectively, how exciting the simultaneous release, on Netflix, of Orson Welles’ finally-finished film The Other Side of the Wind and a documentary about that film’s production, They’ll Love Me When I’d Dead, will be for the general movie watcher. For me, it’s manna from heaven. If cinema is my love, Welles has been my obsession. I’ve read more books about him, watched more documentaries about him, just thought about him more than any other artist. And I’m not alone. Welles inspires devotion, because he was just the biggest, baddest, raddest, most ball-bustingly bravura filmmaker there was. He huffed and he puffed and blew all the doors down.

Of course, his very grandiosity, the thing about him that makes him so compelling, made him a pariah to some, and his story, no matter who’s telling it (I recommend Rosebud: The Story of Orson Welles by David Thomson, This Is Orson Welles by Welles and Peter Bogdanovich, Put Money In Thy Purse by Micheál MacLiammóir, and Run-Through by John Houseman, although there are scores more, including a mammoth multi-volume extravaganza by Simon Callow) always includes Hollywood’s abandonment of him, and his years in self-imposed exile, raising money and hell all over Europe and the world, starting many projects and tragically leaving many unfinished.

The most famous and infamous of these, the Golden Fleece, is The Other Side of the Wind, except that now, thanks to a smorgasbord of Jasons, it is, actually, finished, and you can, miraculously, push a button and watch it. But first, watch Morgan Neville’s extraordinarily entertaining documentary They’ll Love Me When I’m Dead, also on Netflix, or read (and read?) the book that inspired it, Orson Welles’s Last Movie by Josh Karp, which is similarly delightful and inherently more detailed.

Then, once you’re up to speed on all the shenanigans, watch The Other Side of the Wind. It’s one of the more meta cinematic experiences you’ll ever have, for reasons that are self-evident, and plainly discussed in both They’ll Love Me When I’m Dead and Karp’s book. The story of a Wellesian director, Jake Hannaford, played by John Huston, on his 70th birthday, having a party and trying to finish his latest film, it’s a stylistic tour-de-force first and foremost, a flashy, breezy and often very funny satire on the movies and reflection of Welles’s own predicament. If you’ve seen Welles’s superb cinematic essay F For Fake, you’ll recognise his editing style (and his leading lady and girlfriend, Oja Kodar), here taken to extremes. The cinematic conceit of the “main” storyline is that almost everyone at Hannaford’s party has some form of movie camera, and the film we’re watching is constructed from their footage, so the grain shifts, sometimes we’re in black and white, and very few cuts last longer than a couple of seconds. It’s propulsive and vibrant and edgy and fresh and unmistakably the work of Orson Welles. He had a true cinematic voice and it’s fully on display here.

We’re also treated to a hefty selection of scenes from Hannaford’s unfinished film – a film-within-the-film – also called The Other Side of the Wind. This is shot and edited in a completely different style (including in a different aspect ratio), being, within the film’s construct, not “Welles’s” work but “Hannaford’s”, and Hannaford, it turns out, is trying to connect with the late-60s / early 70s cineaste crowd by making an Antonioni-esque film. Thus the footage we see is a parody of Antonioni, and if you needed confirmation of that, the house Welles shot Hannaford’s party in is the house next door to the house Antonioni blew up at the end of Zabriskie Point. Now you see how deep the games go?

This footage – the film-within-the-film – is astonishing, for many reasons. It is intensely erotic (something rare for Welles), famously so thanks to the influence of co-writer Kodar, whom Welles adored and who obviously influenced him deeply during this period of his life. It is gorgeous, intricate, and often very creepy. If the main storyline is fascinating for its autobiographical take on Welles and his relationship to Peter Bogdanovich (playing a Peter Bogdanovich-type called Brooks Otterlake!) and young hip Hollywood (Dennis Hopper, Henry Jaglom, Paul Mazursky, Curtis Harrington and Claude Chabrol are all at the party, among others, and Susan Strasberg plays a version of Pauline Kael called Julie Rich), the film-within-a-film is fascinating to experience. Almost entirely free of dialogue, it is spellbinding, captivating, better than most of the films it so wickedly parodies.

If you love Welles you’ll be seeing both They’ll Love Me When I’m Dead and The Other Side of the Wind. If you’re new to Welles, give ‘em both a try. Regardless, watch the documentary first. It makes the film itself a vitally richer experience.