THE MAGNIFICENT AMBERSONS (Welles, 1942) - It’s almost impossible not to watch this movie like a detective - was this scene supposed to be longer? Should there have been some connective tissue here? Still, it’s hard not to wonder whether the “lost” long version hasn’t been idealized mostly by virtue of its mystery, and the movie as it is stands up pretty well - tonally awkward conclusion excepted. Welles’ use of deep focus is great as always, and the Amberson mansion offers him many opportunities to play with editing-through-camera-movement. I don’t think the story is quite compelling enough of itself, and Agnes Moorehead’s dramatics wore me out, but Welles’ direction makes sure its eminently watchable.
Posted on Sunday, 17 July 2011