hunny miss (aka lets fead him to the gators) (ehs_wildcats) wrote,
hunny miss (aka lets fead him to the gators)
ehs_wildcats

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MAOW: US Premiere info (sort of) and a review

So it sounds like there will be an LA and NYC premiere:



I twittered at them seeing if they have dates/locations... we'll see if they can say.

ETA: lol... not quite what I was hoping for but...



Their twitter, facebook, and website.

And another review:

lastbroadcast.co.uk
Simon Cole

The Mercury Theatre in 1937 was a hot-bed of undiscovered talent: none more so than its prodigious talisman actor/director Orson Welles (at the time a mere 22), who was at the heart of every decision made, from the flyers down to the musical direction.

Welles ruled the troupe with an iron fist yet older, more experienced actors (Joseph Cotton and George Coulouris, both of whom would go on to co-star in Citizen Kane) and an irascible British producer John Houseman (who recognised the raw talent of his wunderkind charge) ensured the ensemble was not overwhelmed by Welles himself.

Richard Linklater, the director of this fascinating film, has similarly peppered his cast with a variety of new faces, but manages to lure the bankability of Zac Efron in what could sensibly be called his first dramatic role as Richard Samuels, a young actor who finds himself cast in a production of 'Julius Caesar', which Welles is producing at the Mercury in New York.

Linklater's film is based on a well-researched piece of historical fiction by Robert Kaplow and, though the source material is quite sleight, the film triumphs mainly due to the excellent set-pieces within the theatre, culminating with the successful opening night. It's here where the film truly hits its stride. The love triangle between Richard, Welles and production assistant Sonja Jones (Claire Danes) never quite reaches an effective counterpoint to the spittle that flies between Welles and his assembled ensemble. Within this collective are some unshowy performances from Eddie Marsan as Houseman and Ben Chaplin as Coulouris.

The film, however, belongs to Christian McKay, who as Welles is at once entertaining and charming as he improvises his way through a radio play to make money for the unpaid cast to have a night out. His brutish and petulant grip on his actors and crew is tightened with the threat that they always must agree with his decisions or lose their jobs. It's a wonderful star-making performance and, though the producers fought for a bigger "name", Linklater is admirable for sticking to his guns and allowing McKay to soar.

4/5 stars

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Tags: me and orson welles, premiere, reviews: maow, schedule
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