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It's All True: Orson Welles's Pan-American Odyssey, by Catherine L. Benamou
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Variously described as a work of genius, a pretentious wreck, a crucially important film, and a victim of its director's ego, among other things, It's All True, shot in Mexico and Brazil between 1941 and 1942, is the legendary movie that Orson Welles never got to finish. In this book, the most comprehensive and authoritative assessment of It's All True available, Catherine Benamou synthesizes a wealth of new and little-known source material gathered on two continents, including interviews with key participants, to present a compelling original view of the film and its historical significance. Her book challenges much received wisdom about Orson Welles and illuminates the unique place he occupies in American culture, broadly defined.
- Sales Rank: #809604 in Books
- Published on: 2007-03-14
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.26 pounds
- Binding: Paperback
- 416 pages
From the Inside Flap
"This is an extremely rigorous, thorough piece of superior scholarship on one of the most important figures in the history of cinema. Benamou introduces a wealth of material on the production process and the repercussions of this project in Latin America, which have been entirely missing from earlier, auteur-centered accounts; this alone makes it a book of great importance. We can't ask for a more definitive, groundbreaking study than the one Benamou has given us."—Bill Nichols, author of Maya Deren and the American Avant-Garde
About the Author
Catherine L. Benamou is Associate Professor of Film and Media Studies at the University of California, Irvine. She was Associate Producer and Senior Research Executive of It's All True: Based on an Unfinished Film by Orson Welles (Paramount Pictures 1993), and is lead consultant on the It's All True Film Preservation Project currently underway at the UCLA FIlm and Television Archive in Hollywood.
Most helpful customer reviews
8 of 9 people found the following review helpful.
The definitive book about Orson Welles' most misunderstood project
By Jonathan Rosenbaum
The fact that Catherine L. Benamou's eye-opening and sometimes mind-blowing book about Orson Welles in Latin America happens to be academic shouldn't scare off anyone apart from a few timid anti-intellectuals. There are important discoveries to be found on virtually every page of this book, most of them couched in prose that to my taste goes down far easier than the fuming of "verfoleme" in his own review of this book. Of course you can single out graceless phrases in a good many books (as well as in a good many spiteful Amazon reviews) if that's what you're looking for--but why bother when there's so much to learn here? Benamou's factual nuggets and her critical and political insights place this book so far beyond most studies of Welles in any language, including English, that she radically revises the whole tenor of what scholars and journalists have been writing about "It's All True" for the past 65 years. You might even say that she permanently changes our discourse on the subject, and any scholar who does that deserves our deepest gratitude. And Benamou brings so much background knowledge to bear on the subject--not only about Welles, but also about Brazil and Brazilian culture, Pan-American history and film history--that we'll still be deriving pleasure and edification from this book for many decades to come.
8 of 16 people found the following review helpful.
important subject smothered in grotesque prose
By verfoleme
"Textophagy"--better like the word, because you'll encounter dozens of such coinages "imbricated" (more fashionable terminology of this ilk) in the author's impenetrable prose: "Just as donning false noses and epidermises allowed Welles to take on significantly different personae while remaining easily recognizable to the public--thereby disclosing the fact of the prothesis to any viewer who had seen him in other performances--his recuperation of the lost work in progress does not involve erasure and forgetting, achieved through the decontextualization and compositional simulation (by way of suturing) of dismembered elements. Instead, it speaks to the reclamation and remembrance by way of bricolage of the text he had originally envisioned." It's the quaint, now antiquated thereobabble (to insert a coinage of my own) of humanities graduate schools in the late 1980s and 1990s. NYU (and the others) can't be entirely blamed for this--Benamou had adequate time to outgrow it in the decade between her 1997 dissertation and the publication of this book. (Also badly needed: a refresher course in the real-life economics of the film industry.) There's deep research behind this effort, and it yields up a wealth of invaluable new information on this pivotal project in Welles' career; let us hope that someone extracts it and blogs it in comprehensible form and that Benamou assents to the process (she holds the copyright): that, plus the reconstruction project of surviving footage she's heading in conjunction with UCLA Film/Television Archive, might turn out to be her most important contributions to Welles scholarship.
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