The Magic World of Orson Welles (2015)
“One could hardly imagine two men of more dissimilar backgrounds or personalities, but both are artists of nightmare, their occasional lyricism mediated by a love for grotesque, satiric visions, their characters inevitably shown as victims of sexual and institutional torment. The gothic political rally in Citizen Kane, the furtive conversations on a grand oak staircase in The Magnificent Ambersons, the mad courtroom in The Lady from Shanghai, the police inquisition in Touch of Evil—all of these ...celebrated moments are made possible by Kafka, or at least by the modem sensibility that Kafka largely created. They are all examples of comfortable reality becoming as absurd as a dream, of recognizable daytime life beginning to turn into a hopeless, centerless labyrinth.
But note that I have said “beginning to turn,” for however angst-ridden and fatalistic Welles’s stories may be, however irrational and sexually charged his images may become, he continued to insist, both inside the fiction and outside, that his characters are morally responsible agents in a society of their own creation.MoreLess
But note that I have said “beginning to turn,” for however angst-ridden and fatalistic Welles’s stories may be, however irrational and sexually charged his images may become, he continued to insist, both inside the fiction and outside, that his characters are morally responsible agents in a society of their own creation.MoreLess
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