Me and Orson Welles

Director: Richard Linklater
Cast: Zac Efron, Christian McKay, Ben Chaplin and Claire Danes
Releasing in cinemas: 29 July 2010
Rated: PG

Orson Welles was the boy wonder who stormed into Hollywood to make his masterpiece Citizen Kane. Before that however he achieved a name as the innovative genius of stage productions in his own Mercury Theater, and the infamous radio broadcast of ‘War of the Worlds’ which scared half of the population out of their minds.

In 1936, aged 21, Welles created a sensation staging a voodoo version of Shakespeare’s Macbeth with a largely black cast. Me and Orson Welles is the fictionalized account of his following production, the 1937 Julius Caesar which had actors in contemporary Fascist outfits in a highly stylised presentation. It’s also the story of a teenage student with thespian ambitions, Richard Samuels (Zac Efron), who gains a role in the play. Richard discovers love and despair are equal parts of Orson’s world.

After a literature class Richard briefly meets Gretta (Zoe Kazan), an aspiring writer, then wanders into the fledgling Mercury theater group encountering its flamboyant ,creative director Orson Welles (Christian McKay), who takes a shine to the young man. He’s given a small unpaid part in the forthcoming Julius Caesar encouraged by the attractive but ambitious production assistant Sonja (Claire Danes). Richard totally beguiled with Sonja tries to win her affection, while turbulent rehearsals progress under Welles’ eccentric dictatorial control. ‘The principal occupation is waiting for Orson’.

As the opening date draws ever closer and nothing appears to be working to plan, Richard falls out with Welles over his attraction to Sonja, and looks like having his career cut short. But the show must go on; and as the opening night is upon them, New York awaits a work of genius.

Richard Linklater’s competent direction might lack the exotic cinematic style of Welles but provides marvelous images of the period and the exuberance of 1930s avant-garde theatre. Linklater (Fast Food Nation) brings the stage to life, fleshing out the actors during rehearsals and the opening performance. He achieves an atmosphere of tense expectation as the curtain is about to rise, matched by the exhilaration of a standing ovation at the conclusion. There’s flashes of Welles’ talent as a magician, a nostalgic interlude at the radio station, a glowing feeling for that pre-war era in the theater, dance-hall and other locations.

It takes a brave actor to play Welles, the charismatic demanding self-obsessed wunderkind who’s still well-known today from his films. At times cajoling, flattering, or downright cruel, it’s a big ask for newcomer Christian McKay managing a most plausible impression; if a little light on the Welles trademark - his resonant mellifluous voice and perfectly timed delivery - ‘The most wonderful voice in the world’. McKay resembles a young Orson, passionately dominating scenes in which he appears.

Zac Efron (17 Again) moves away from lightweight romantic roles with surprising depth in his portrayal of the naive student actor. Claire Danes (Stardust) sails through her part as the ambitious Sonja who’s determined to make it in a tough world. Playing Mercury Theater actors later to appear in Citizen Kane are Ben Chaplin (Dorian Gray) particularly effective as George Coulouris and James Tupper (Men In Trees) as Joseph Cotton. Eddie Marsan (Sherlock Holmes) makes a suitably frustrated John Houseman - Welles’ distraught partner in Mercury. Zoe Kazan (Revolutionary Road) provides a bright touch as Richard’s new best friend Gretta.

Holly Gent Palmo and Vince Palmo’s well researched script is based on the novel by Robert Kaplow. The film was surprisingly filmed in the old Gaiety Theatre on the Isle of Man, Pinewood Studios plus various locations in London and New York. Cinematography is by Dick Pope, who also created striking images for The Illusionist. The lively soundtrack of popular music from the era would do credit to Woody Allen.

Me and Orson Welles will appeal to lovers of theatre, along with those who remember Welles as the brilliant actor/director of stage, radio and film. Some knowledge of Shakespeare’s Julius Caesar will help appreciate Welles’ innovative production. We may never see his like again.

John Bale