Happy Birthday Charles Laughton 1st July 1899 - 15th December 1962
Rembrandt is his great part, his matriculation; full of the intimate moments that test an actor’s integrity to the highest…probably the finest acting performance ever recorded on celluloid. - C A Lejeune
Charles was both inteligent and gifted, with an instinctive genius for acting. - Jean Renoir
Apart from ‘Ambersons’, the most exciting experience I have had in the cinema was with Charles Laughton on 'Night of the Hunter’…every day I considered something new about light, that incredible thing that can’t be described. Of the directors I’ve worked with, only two ever understood it, Orson Welles and Charles Laughton. - Stanley Cortez
I have become a teller of stories. I would like to become the man who knows all the stories…When I go into a good book-store or library, I often feel sad when I see the shelves of books that I will never be able to enjoy. I think of all the wonderful tales I will never know, and I wish I could live to be a thousand years old. - Charles Laughton
Born Today, May 6, in 1915 Actor and Master Film-Maker Orson Welles…
“I run a couple of newspapers. What do you do?” - as Charles Foster Kane in Citizen Kane
Over 115 film and television roles including Citizen Kane, The Magnificent Ambersons (narrator), Jane Eyre, The Lady from Shanghai, Macbeth, Prince of Foxes, The Black Rose, The Long Hot Summer, Touch of Evil, The Trial, A Man for All Seasons…
Directed and wrote the ScreenPlays for Citizen Kane , The Magnificent Ambersons and Touch of Evil… among many other films…
Richie briefly appears in the
novel 11/22/63 as well, when the main character Jake Epping arrives in
Derry and sees him dancing with Beverly. Jake (using the alias George
Amberson) asks the two if they know about the Dunning children. He
notices the special relationship they have: not romantic, but that of
two friends that had gone through a lot together. He notes they were the
only thing that felt good about Derry, and helps them practice dancing.
The friendship between Richie and Bev gives me life
One of the great tragedies in cinematic history was the fate of Orson Welles’s 1942 epic, The Magnificent Ambersons, which was cut, reshot, and mutilated by studio functionaries while its visionary director was working on another project in Brazil. Sixty years on, the 132 minutes of the original version—if indeed they exist—are still the holy grail of certain film buffs. The author follows the making, and unmaking, of a movie that Welles believed was the death of his Hollywood career.
By David Kamp
There are two great “lost” movies in the annals of Hollywood filmmaking, Erich von Stroheim’s Greed and Orson Welles’s The Magnificent Ambersons. Neither film is lost in a literal, vanished-and-gone sense—both are available on video, are occasionally screened in theaters, and are highly regarded by film critics (four stars apiece in Leonard Maltin’s Movie & Video Guide, for example). Rather, their tragic “lost” status stems from the fact that they exist only in truncated, bowdlerized form, having been wrested from the hands of their visionary directors by studio functionaries who were too craven and bottom-line-obsessed to cut these directors some auteurist slack. Since both films well pre-date the preservationist era of film-as-art-and-heritage—Greed was released in 1925, The Magnificent Ambersons in 1942—they have suffered the further indignity of being unreconstructible; studios back in those days didn’t hang on to excised footage for the sake of future director’s cuts on DVD, so the reels upon reels of nitrate film trimmed from the original versions were—depending on which movie you’re talking about and which story you believe—burned, thrown in the garbage, dumped into the Pacific, or simply left to decompose in the vaults.