A blog formerly known as Bookishness
By Charles Matthews"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."--Gabriel García Márquez, One Hundred Years of Solitude
Saturday, July 23, 2016
Macbeth (Orson Welles, 1948)
Citizen Kane (Welles, 1941). The low budget for the film shows, especially in the sets -- Dunsinane seems to be more cave than castle, its walls made out of Plasticine -- cobbled together on the Republic soundstage by art director Fred A. Ritter. And although Welles's keen eye served him well, as Alfred Hitchcock's would later when he shot Psycho (Hitchcock, 1960), John L. Russell was never a distinguished cinematographer. Still, this is a fairly distinguished effort at putting Shakespeare on film.