In 1937, a teenager is cast in the Mercury Theatre production of "Julius Caesar", directed by a young Orson Welles.In 1937, a teenager is cast in the Mercury Theatre production of "Julius Caesar", directed by a young Orson Welles.In 1937, a teenager is cast in the Mercury Theatre production of "Julius Caesar", directed by a young Orson Welles.
- Nominated for 1 BAFTA Award
- 5 wins & 27 nominations total
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Storyline
Did you know
- TriviaThe real Norman Lloyd denounced the film, and pointed out that contrary to his portrayal as a lecher, he was a recently married man at the time. This was a happy marriage which lasted many decades until his wife's death. He also took exception to the depiction of Orson Welles as a bullying director and said that he had never seen Welles, with whom he worked often, behave in such a manner, adding that, also, "we wouldn't have stood for it!" He did however concede that Christian McKay's performance as Welles was excellent.
- GoofsRichard accompanies Orson to 485 Madison Ave (CBS) for a "recording session" for a radio show ("The First Nighter" program). At this time (1937) and until the late 40s network programs were broadcast live, never recorded. Most programs were produced live twice, once for the East Coast and three hours later from the West Cost.
- Quotes
Orson Welles: You really are a god created actor Richard. Those weren't just words you see. I recognize 'The Look'.
Richard Samuels: The Look?
Orson Welles: The bone deep understanding that your life is so utterly without meaning that simply to survive you have to reinvent yourself. Because if people can't find you, they can't dislike you. You see if I can be Brutus for 90 minutes tonight; I mean really be him, from the inside out; then for 90 minutes I get this miraculous reprieve from being myself. That's what you see in every great actor's eyes.
- Crazy creditsGilson Lavis is listed as "Drumer" instead of "Drummer".
- ConnectionsFeatured in Live from Studio Five: Episode #1.48 (2009)
- SoundtracksThis Year's Kisses
Written by Irving Berlin
(C) Irving Berlin Music Corp (ASCAP)
All Rights Administered by Warner/Chappell Music Ltd.
All Rights Reserved
Performed by Helen Ward & Benny Goodman & His Orchestra
Courtesy of Bluebird/Novus/RCA Victor
By arrangement with Sony BMG Entertainment
The agile script ably captures the conflicting clashes of the behemoth of a personality that was Orson Welles, from the explosive temper tantrums to the slyly manipulative charm to the casual womanizing, painting a vivid (but likely not larger than life) portrait of the man without either romanticizing or demonising him. It is ultimately the presence of the titular character which rescues the film from becoming yet another "cast rehearsing a play" film, as the dynamo of Welles tearing through the film at all the least expected moments creates a sporadic force of havok keeping the film continually off kilter, preventing it from descending into cliché and keeping it consistently interesting as consequence. While the story's lightness of touch does make some of the plot points either overly obvious or unbelievable, a film so unassumingly enjoyable fails to evoke much complaint - whether dabbling in the dramatic or the comedic, Me and Orson Welles remains refreshingly cheerful and earnest, and all the better for it. Completing the package, Linklater's rare tackling of a period piece demonstrates his typically astute ability to capture the feel and flavour of the times, with the earnest ambition of the 1930s well complimented by subtly stylish sets and costumes while simultaneously avoiding beating the audience over the head with more overt details of the time (instead of the potential hackneyed Nazi allusions, Linklater includes merely a brief radio snippet which is quickly cut off, a classy and subtle inclusion).
Undergoing a difficult transition from teenage heartthrob to dramatic lead, Zac Efron gives a surprisingly solid performance as the idealistic young actor swept into the wild world of Welles, convincingly contributing charm, comedy and genuine sympathy to the emotional centerpoint of the film. However, given the title, it isn't difficult to imagine the inevitable highlight of the show, and true enough, as the infamous Welles, British stage actor Christian McKay doesn't so much steal scenes as seize and throttle them, exploding on screen with the same engrossing bluster that only the real Welles himself could conjure up. Blending the conflicting elements of an indisputably difficult character as easily as he nails the trademark voice and appearance, McKay's Welles alternates between devilish charmer and explosive force to be feared, shaking up the film with similar vigour and nuanced genius - one of the most impressive cinematic debuts in recent memory. Claire Danes is also on top form as a good hearted but endlessly ambitious member of Welles' company, and Ben Chaplin and James Tupper are endearing presences as eccentric members of Welles' calamitous company.
As unconventional a project as it may be, Me and Orson Welles remains one of the most unashamedly lighthearted and enjoyable forays into nostalgia in many a year, breezily blending the serious with the silly while never skimping on historical fact. The addition of McKay's brilliantly combustive Welles make the theatrical rehearsal sequences a joy to behold instead of drearily formulaic, making Linklater's latest film a charm to behold for even the most cynical of audiences.
-8/10
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Details
- Release date
- Countries of origin
- Official site
- Language
- Also known as
- Me & Orson Welles
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $25,000,000 (estimated)
- Gross US & Canada
- $1,190,003
- Opening weekend US & Canada
- $63,638
- Nov 29, 2009
- Gross worldwide
- $2,336,172
- Runtime1 hour 54 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1