Here's a project based on the notion of folded narrative.
There are three stories, and it is marvelous how they complement each other.
The project seems to have been built around the last story. It is by Somerset Maugham, adapted by the producer and starring Orson Welles. Orson was deep into his newly found soulmate and had just finished Mr. Arkadin, something special. The story is of a man, Orson's character, who makes an enemy. This enemy vows to destroy his spirit and begins to enter Orson's dreams. In "real life" he acknowledges having done so. This drives Orson mad, and to his death.
Orson understood this notion of folded acting, where several layers of character as well as story are supported. We aren't at all sure what is dream, what is imagined and real. We are not sure who is the narrator: Orson, the enemy or some third observer. Orson supports all three. It is marvelous. We may never have another one with this depth.
This final story is masterfully prepared by the two previous stories.
The first is of mysteries in an art museum. Objects disappear, and a certain painting's frameglass breaks.
The fold is that the most engaging painting in the building is the one whose glass breaks. It is painted by an unknown. We learn that this painter, now dead, occupies the house in the painting, with a couple others who were "assigned" to the painting. The house contains the art objects stolen from the museum. The story concerns the constraints of the folded medium, and how difficult it is to keep painting the painting once you are in it.
The second story is a more ordinary fold: the framing of a friend for a murder, convincing that friend that he is guilty. The narrator, as we discover, is untrusted and has lied to us as well. This sets up our man Orson, whose "Mr. Arkadin," just happens to have precisely these three folds.
Ted's Evaluation -- 3 of 3: Worth watching.
There are three stories, and it is marvelous how they complement each other.
The project seems to have been built around the last story. It is by Somerset Maugham, adapted by the producer and starring Orson Welles. Orson was deep into his newly found soulmate and had just finished Mr. Arkadin, something special. The story is of a man, Orson's character, who makes an enemy. This enemy vows to destroy his spirit and begins to enter Orson's dreams. In "real life" he acknowledges having done so. This drives Orson mad, and to his death.
Orson understood this notion of folded acting, where several layers of character as well as story are supported. We aren't at all sure what is dream, what is imagined and real. We are not sure who is the narrator: Orson, the enemy or some third observer. Orson supports all three. It is marvelous. We may never have another one with this depth.
This final story is masterfully prepared by the two previous stories.
The first is of mysteries in an art museum. Objects disappear, and a certain painting's frameglass breaks.
The fold is that the most engaging painting in the building is the one whose glass breaks. It is painted by an unknown. We learn that this painter, now dead, occupies the house in the painting, with a couple others who were "assigned" to the painting. The house contains the art objects stolen from the museum. The story concerns the constraints of the folded medium, and how difficult it is to keep painting the painting once you are in it.
The second story is a more ordinary fold: the framing of a friend for a murder, convincing that friend that he is guilty. The narrator, as we discover, is untrusted and has lied to us as well. This sets up our man Orson, whose "Mr. Arkadin," just happens to have precisely these three folds.
Ted's Evaluation -- 3 of 3: Worth watching.