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September 26, 2010


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You are right to listen to Your Lovely Wife.

Robert Cashill

Is that the first time the scorpion/frog story was related by characters in a film? After THE CRYING GAME it seemed to turn up in every other crime thriller for years.

Glenn Kenny

@ Robert Cashill: As far as I know, yes, the "Arkadin" bit was the first time. Boy, that Welles. Not an untalented man, huh?

Castle Bravo

Welles was a pretty big fella himself at that point...


As more than one biographer has condescendingly pointed out. Some more grotesquely than others.

We might be right to point out that the obesity ended his life. It probably did. When it comes up in conversation (and it has, in real and virtual life), I point out that he was also working. Writing. Possibly at the precise moment he was taken.


Regarding that quote, OW's weight circa ARKADIN wasn't as great as it was in, say, THE DREAMERS, but I'm reminded of one evening after a day's shooting on TOUCH OF EVIL, when Welles made an appearance at a studio shindig, in full Hank Quinlan costume and makeup. He hadn't time to change, and Quinlan was a walking parody of the punishment for undisciplined, easy living. Hollywood being what it was (and is), execs would plaster on a grin, slap him on the back and say, "Gee, Orson, you look great!"

Kent Jones

Aaron, I think BUTCH CASSIDY AND THE SUNDANCE KID is more of a Fincher favorite than THE STING. The Conrad Hall factor.

Kent Jones

Oh, my comment was meant for the Theatrical "Dutiful Husband" Cut. Sorry.

Glenn Kenny

Geez. Again, I wasn't even thinking of the Welles weight "issue" when I put up that quote, and here we go. I can't win! But, as Jaime notes, for "Arkadin" our man was not yet of the grand dimensions he brought to bear on so many Dean Martin roasts...just as the greater part of Quinlan was largely padding...

BTW, according to McBride, Welles' weight problem WAS largely glandular...

Stephen Bowie

As long as this has turned into fat joke central ("Some Came Waddling"?), I might as well throw in my one bit of Orson lore, gleaned from when I was a film student: Supposedly when Welles spoke at USC near the end of his life, they had to remove the vertical bar between the big double doors of the main cinema before he could get inside.

Robert Cashill

Welles--"not untalented," but no David Fincher. :)

Castle Bravo

Well, here's one very legitimate comparison between TSN and CK: They both make great use of special fx compositing. TSN is wall to wall with CGI: Bright night skies, misty breaths, fake environments during the regatta, etc.


They always leave out the part of that story where the scorpion washes safely ashore, ends up going to college, gets an advanced degree in social work and now runs a soup kitchen. He lives in New York with a wife and 24 children.


I can't imagine, at this moment in time, what could possibly be a more important subject for a film than Facebook. Though I gather that The Social Network isn't really any more about Facebook than Kane is a movie about journalism.

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