Yawn. Poorly Filmed Snooze Fest.

Sadly Over-hyped

To all those who have watched it: I hope you enjoyed it as much as I do.

I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

In spite of what another reviewer thinks, I found "Magician: The Astonishing Life and Work of Orson Welles" to be an engrossing and fascinating documentary on one of cinema's most original artists. It is the ideal tribute in celebrating 100 years after Orson Welles was born. The interviews offer some insight into the man as well as the director and actor and the contribution from Welles biographer and actor Simon Callow is especially valuable. From the time Orson Welles decided on a career in showbusiness, he was destined to do things his way by being an individualist. Part of this may have been down to his being a Democrat and that his mother was politically very active in helping to establish women's rights. Welles was the kind of artist who would sacrifice his principles for no one, certainly not with his directing career. All this is shown via Welles' infamous clashes with "R.K.O" over his first two movies, "Citizen Kane" and "The Magnificent Ambersons" and how Hollywood deemed the director to be virtually unemployable by the end of the 1940s. I enjoyed the section about Welles' career in radio where he created "The Mercury Theatre" which was dedicated to producing dramas of the highest quality (which they did). The discussion over the production of "War of the Worlds" is probably the career highlight for Welles as far as the medium of radio is concerned. It was a pity that Orson Welles couldn't make his version of the novel "Heart of Darkness" by Joseph Conrad. Such a film would have been the equal of "Citizen Kane" in terms of sheer cinematic value and influence. The documentary reveals that "R.K.O" insisted to Welles that he reduce the budget for his forthcoming movie "Heart of Darkness" by so much. After the director told the studio that this couldn't be done, the project was shelved indefinitely. I shalln't talk about "Citizen Kane" very much as a lot has been said about the film many a time. For myself, I have come to appreciate and to enjoy the film a good deal. The documentary shows how Orson Welles struggled to secure any financial support for his later films after his reputation throughout Hollywood proceeded him. Welles took on some acting jobs in England, so as to raise money for his film adaptations based on the work of William Shakespeare. There is discussion about Welles' work on the masterpiece, "The Third Man." It is interesting to note that even though Orson Welles is the one people remember the most from that film, his time on screen is not much and he didn't work for long on "The Third Man." I had a chuckle when the documentary revealed how Welles refused to be filmed inside the real sewers in Vienna and that an elaborate reconstruction was built at one of the British film studios - just to please him! Something that wasn't mentioned to the best of my knowledge, was the fact that Orson Welles worked on the radio shows "The Lives of Harry Lime" and "The Black Museum." Both shows are hugely entertaining and should be better known. Peter Bogdanovich talks extensively about his interviews and discussions he had with Welles and this was fascinating. To read all about their discussions, the volume "This is Orson Welles" comes highly recommended. There is interview footage with the man himself and this is essential in gaining an idea as to what made the man tick. I think the documentary offers insight into the man as well the director. Orson Welles was the kind of person who carried with him an aura of mystery and seemed to encourage people to think of him in that way. A thoroughly enjoyable documentary all round. Fans of Orson Welles should like this.

As a lifelong admirer of Orson Welles I usually feel that anything at all in which he features will be worth seeing - and then I remember things like Ferry To Hong Kong and reconsider. Magician is a once-over- lightly look at the life and times of Welles which thankfully makes no mention of Ferry To Hong Kong thus preventing me describing it accurately as a look at the life and times of Welles warts and all. If you're a Welles buff you can't really see too many clips of Chimes At Midnight even if you can, at you leisure, wallow in the whole film via the DVD now available once again. Magician also offers clips across the board from Welles the actor, Welles the Broadcaster, Welles the writer, Welles the director so it really would be churlish to ask for more

Unintelligent documentary about a very intelligent man. No cohesive theme or statement about Orson Wells. Chunks of a better documentary edited together into a bad one. Has some interesting comments about how he made films, otherwise just sycophantic incantations about how great he was. Includes a montage of pictures of Orson Well's girlfriends and wives, how does this contribute to the story? Came off as sexist as these women are regulated to photographs without anything interesting to say about his personal life. Snips here and there of celebrities saying thins about Orson Wells without drawing any meaningful summations about Orson and his art. Smug, smarmy, and depressing in the way it cheapens Orson Wells legacy.

MAGICIAN is a dud - a less than mediocre run-through of the life and career of the legendary entertainment figure Orson Welles. I caught a theatrical screening Saturday that proved to be a complete waste of time.Contrast this loser with the 2007 documentary SPINE TINGLER!, which informatively and entertainingly profiled schlockmeister William Castle. Unlike Welles, Castle is a mere footnote in film history, but the portrait of him was lively, to the point, and even created an emotional connection (bordering on pathos) when looking at his declining years and premature death - the elements sorely lacking in MAGICIAN.Director Chuck Workman is famous and lauded in some circles (not mine) for his career in compilations (more accurately excerpts) -often responsible for the abbreviated Academy Awards show's highlight reels of great moments in film. I find him to be a master of trivializing, taking works of art ranging from a classic Bugs Bunny cartoon to any number of great feature films and extracting a cute or memorable moment from each, then juxtaposing them together for generally idiotic effect (e.g., a montage of famous screen kisses). I'm old-fashioned: I like to sit through an entire cartoon or movie, even endlessly long ones like BERLIN ALEXANDERPLATZ, THE DECALOGUE or SHOAH. My dreaded "high-brow" satire would be a Saturday Night Live tribute to Jacques Rivette by Workman (or perhaps Tom Schiller, pick your poison) consisting of fleeting clips from his brilliant but notoriously long feature films.And so it is not surprising to me that Workman trivializes Orson Welles' life and career. Most of MAGICIAN consists of old interviews with Welles or other deceased witnesses, ranging from Sydney Pollack to John Houseman. Ken Burns has made a career treating subjects for whom living witnesses are few or nil but through eloquent narration and sometimes readings by talented actors has brought them to life. Where Workman does have a live testimonial the results are - you guessed it- trivial: Welles biographer Simon Callow is a terrific actor and erstwhile director himself, but his comments are unenlightening; Welles' longtime companion Oja Kodar (who I saw give a highly educational talk on Welles decades ago when she presented excerpts of his unfinished films including THE DEEP and THE OTHER SIDE OF THE WIND) is totally wasted in an interview that makes her out to be a flake; Welles experts Peter Bogdanovich and Joe McBride plus recently deceased Paul Mazursky briefly have minimal information to contribute; and Francis Coppola's longtime editor Walter Murch is strictly footnote material discussing the "improvements" (this seems to be a cottage industry) in Welles' TOUCH OF EVIL that have been made by re-editing the Universal re-edited picture. Perhaps meant to insult on purpose, Workman even works in comments by Wolfgang Puck (!) concerning Welles' famous appetite. Thanks a lot, Chuck.To further trivialize matters, Workman insists on including numerous film homages to Welles, such as clips from DAY FOR NIGHT, ED WOOD and the TV movie about KANE starring Liev Schreiber. There is more junk like this than attention to Welles' voluminous screen acting career which gets short shrift other than references to how "in demand" he was. The controversy regarding Welles vs. Herman Mankiewicz in apportioning authorship to CITIZEN KANE (screenwriting-wise) is obfuscated rather than clarified by this worthless documentary.For someone who knows little to nothing about Orson Welles the film hits the familiar clichés -his boy wonder achievements dating back to childhood and growing up in Woodstock; mercurial milestones in theater and radio, triumph and fall in Hollywood and latter years as true independent filmmaker. For me it amounted to a mass of generally misleading information (frequent claims that FALSTAFF not KANE is his true masterpiece) and significant omissions (his Kodar period sloughed off and his long collaboration with the late talented pornographer Gary Graver (more famous as Welles' cameraman) ignored. No need to worry - I suspect another filmmaker, perhaps even Burns or his brother Ric, will conjure up a suitable treatment of the renaissance man Welles. In the meantime MAGICIAN instantly belongs on the scrap heap of bad movies which, to paraphrase Theodore Sturgeon in his famous quote about science fiction, make up 90% of film history ("but then 90% of everything is crud").