Orson welles's artistic achievements.

Andre bazan, the mentor of New Wave, said: "For orson welles, ... (skill) is not only a way to deal with shots, scenery and actors (directing method), but also to reveal the true colors of the story." It is this skill that makes the film art further deviate from the drama art and become more narrative than performance. Indeed, as in novels, what matters is not only dialogue and clear description ... but the presentation of style through language, thus creating meaning. "

Film language: He will try many novel film languages, and often adopt a very "avant-garde" commercial story-telling way. He will jump back and forth between several simultaneous scenes, and the whole story will be presented in a very fragmented way, with exaggerated wide-angle lens composition, a large number of wild night scenes, unheard-of voice expression and bold subversion of character types. Image: Some innovative technologies are widely used in his films, such as depth-of-field lens, so that panorama and large close-ups can appear clearly in the same picture at the same time; Contrast photography, ceiling scenery; The lens moves freely like a ghost; Sometimes I will stubbornly stay where I am; In the scene scheduling, the actions of the characters in the picture are creative. A strong sense of modeling, a bold attempt in form, and a strong personality in tone (although there are too many expressionist colors in style) can be said to be super avant-garde at that time. Even his research on acoustics is amazing.

Performance: orson welles himself is a great actor, and many of his films are starring members of the Mercury Troupe who have followed him for many years, with profound performance skills and tacit cooperation with each other.

Character: orson welles is good at telling family stories. At that time, Hollywood movies were sentimental and childlike, but they were also more inclined to write family themes. However, orson welles's concept of family is almost similar to MGM's manager. In Wells' works, father, son, uncle and aunt are all possessive characters, and the protagonist is always emotionally traumatized.

Theme: Classical masterpieces, suspense thrillers, social realism, biographies.

"Autobiographical" Imprint of orson welles's Films

When Citizen Kane premiered in July 1946, andre bazan was still a young critic. Bazin correctly pointed out: "In the final analysis, Citizen Kane and Ambasson may be a childhood tragedy." The plot of Citizen Kane clearly reflects Wells' emotional experience when he was young. As a teenager, he followed his parents to Europe, China and Jamaica. His mother died on a trip. Orson was just eight years old at the age when Charlie Foster Kane Jr. was forced to be separated from his mother. As andre bazan said, "Until his death, the subconscious memory of this sleigh (in Citizen Kane) haunted his mind, because at the beginning of his life, he used it when attacking bankers. It was the arrival of this banker that forced him to stop playing in the snow and leave his mother's shelter. It was the arrival of this banker who kidnapped him from his childhood and made him a citizen Kane. "

Kane, Michael O 'Hara, Charles Rankin, Franz Kindler, Sheriff Quilling, Falstaff and even otero are all losers in the psychological sense. Even though they may seem extremely powerful on the surface, they still end up like this. His strong desire for domination and talent that ordinary people can't reach are precisely the fundamental reasons why he is out of tune with the times and heading for destruction.

Wells is a tireless innovator of film technology, but there has never been such a genius as orson welles in the history of film. Since he directed the epoch-making film Citizen Kane, almost all his works have been influenced to varying degrees. The producer interfered with his work, edited the film at random, and kept saying that it was for the audience to understand. Since the late 1940s, Wells has been making other directors' films and making his own money to avoid the restrictions of big studios. For more than 30 years, he has never been able to get rid of this situation.

For example, during the filming of The Robbery of Beauty, Wells tried his best to get on well with the producers. Sure enough, his efforts paid off, and Universal Pictures and Wells even negotiated film contracts for the next five films. However, everything was destroyed in the editing stage. Under the control of the studio, another unrecognizable "Robbery of Beauty" was cut out. During this period of operation, orson welles was not allowed to enter the editing room and was completely excluded. He was shocked when he saw the new version he had painstakingly processed. In a rage, Wells wrote a 58-page memo, denouncing Universal Picture for trampling on the director's power, detailing their low-level and incompetent tampering, and pointing out how to edit it correctly. The memo reached the desk of Edward Muhl, president of Universal Pictures, and the result was like a mud cow in the sea, with no turning point.