Confidential Report

1955

Crime / Drama / Film-Noir / Mystery / Thriller

129
IMDb Rating 7.3 10 7,238

Synopsis


Downloaded times
August 26, 2020

Director

Cast

Gert Fröbe as First Policeman - Munich
Michael Redgrave as Burgomil Trebitsch
Orson Welles as Albert Hastler - The Advocate / Narrator
720p.WEB 1080p.WEB
918.2 MB
1280*720
English 2.0
NR
23.976 fps
93 min
P/S N/A / N/A
1.67 GB
1920×1080
English 2.0
NR
23.976 fps
93 min
P/S N/A / N/A

Movie Reviews

Reviewed by curtis-8 10 / 10 / 10

There Really IS no "Original" version after all!

I've always liked Orson Welle's "Mr Arkadin." At least I've been compelled to watch it an awful lot of times, in any case. So I must like it, right? Actually, I think a big part of the reason why the film is so fascinating, to regular folk like me as well as to film historians, is that it is so obviously incomplete and unfinished. This is both the film's greatest weakness and its most intriguing strength. The film "Mr Arkadin" is just as mysterious as the character it is named after. This is yet another film Welles made that was taken from him during the editing stages by the people putting up the money. Until the recent release of the exhaustive Criterion "Complete Mr. Arkadin" DVD set, all I had to go on were tapes and discs of various, beat up public domain versions and a nice Janus tape of the "Confidential Report" version that is widely known to be a re-edit of Welles' "original" cut. However, now, after having seen the famed "Corinth" version as well as Criterion's "Comprehensive" version, I doubt that there ever really WAS a Welles cut of this film. He was obviously a compulsive tinkerer who liked to massage the story in the editing room. Therefore, we can't really know what version is "closest to Welles' intentions," we can only guess at which ones are closest to the intentions he had at the moment the producer took the film from him. I have no doubt that if he'd been given all the time to edit he wanted, the film would have completely changed a dozen more times. If you closely watch first half hour or so of the versions that are supposedly "closer to Welles' vision," this is apparent. These are the scenes between Arden's Van Stratten and Tamiroff's Zouk that set up the flashback within a flashback format that Welles himself has been quoted as saying was absolutely vital to his vision. But if you watch closely during the scenes between Van Stratten and Zouk, it is obvious that virtually none of Arden's lip movements come anywhere near matching what he's saying on the soundtrack. And I'm not talking about the usual Welles problem of the voices not exactly matching the lips—I'm talking a complete disconnect. These scenes were originally filmed with much different dialog. Interestingly if you watch Laserlight's release of the American 'no flashbacks' version you can catch bits of this original dialog (why wasn't that version included in Criterion's 'Complete' set?). I think that Welles came up with the flashback idea well after principal photography was finished and then had Arden dub in different lines to make the flashback format work. It looks to me like his original plan was a linear story, like the novel, and then he had the idea to make it a "Citizen Kane" type series of flashbacks after the fact. So even Welles' "original vision" wasn't his "original vision." But the film is still fascinating, and the new, "more complete" Criterion versions do make more sense than the public domain versions that have been floating around. There are more establishing shots, better transitions, slightly fuller characterizations, and much better sound. But the first twenty minutes is still a mess. The story lurches and jumps, asking us to accept too many crazy things too quickly and losing us for a while. There seems to be at least twenty minutes worth of material missing. So far I haven't seen or read anything in the Criterion set to suggest that more material from the early part of the film exists, but I did read a fascinating blog article by a gentleman who claims to have seen a working print preview of "Arkadin" in England back in the 50s. As of this writing, it can be found here: http://www.epinions.com/mvie-review-7A18-458AFFD2-3A4C153E-prod3. In this article, the guy describes many scenes of exposition in the early part of the story that do not exist in any available film version. For instance: 1) In the prolog, we not only see Mily's dead body on the beach (a rare shot restored in the Criterion version) but also a close up of her face and eyes. And on the soundtrack we hear Van Stratten eulogizing her. 2) There was a rather involved scene showing Zouk actually being released from prison (in the released version, we are just told that this happened in dialog). If this account of what must have been one of the first public showings of any version of "Arkadin" is true, that also says to me that Welles was compulsively noodling around with the film, changing it, rearranging it, cutting it to bits, well before his backers took it away from him and edited it themselves. And if we believe that these bits existed, there's no reason not to believe that other footage also existed. But I don't think we can assume he was necessarily making it better with each change, either. I think that one of two things would have had to have happened for there to have ever actually been a true "final cut": 1) Welles would have had to accept collaborators to help him decide when to quit editing (as he had during "Kane" with Mankiewicz and Houseman) or 2) he would have had to have been given as much time as he wanted to edit. I think option one would have been the better choice—from the state of any version of the film available, I think it is obvious that he would have tinkered with it until he freaking died. Making great art is not simply a matter of "doing it until it's right." It is also a matter of knowing when to stop. Arkadin is a fascinating study of an artist who didn't know when to--or didn't really want to--stop. But I still love the mystery.

Reviewed by Nazi_Fighter_David 8 / 10 / 10

The characters project the suspense of which entertainment is made

"Mr. Arkadin" and "Citizen Kane" were both, in simplest terms, about the search to uncover the past of a tycoon…The film is regarded merely as a highly-colored, larger-than-life, more-exciting-than-life piece of entertaining suspense… The story is basically about Arkadin hiring a young American to uncover forgotten events in his early life… Only later did the American realize that, as he tracked down the people who knew the secrets of Arkadin's hidden past, the financier was having them murdered one by one, and intended at the end to have his own investigator murdered too so that the trail he had uncovered would be destroyed for ever… But all this was simply a thread on which to hang the ornate jewels of those characters… Mischa Auer, the tall, cadaverous, impoverished Russian owner of a Copenhagen flea circus, sitting alone in a tiny room with the repulsive insects which are the only creatures for which he cares, feeding them on his own thin arm, looking attentively with huge distorted eye through a large magnifying glass at the probing investigator… Akim Tamiroff, starving in Munich as a neglected-looking beggar willing to trade his secrets for a meal… Katina Paxinou, the ruthless woman who had run a criminal gang in Europe and now lived on her fortune in Mexico… And Michael Redgrave, an unsuccessful dealer, scrabbling about his shop filled with antique junk… Such characters project the suspense of which entertainment is made

Reviewed by antcol8 8 / 10 / 10

Let's drink to character

You guys are great...so much interesting, smart stuff in all the comments. What can I add? Well, I saw it last night, and I was thinking about The Auteur Theory and Roland Barthes' thoughts about the one big book of which all books are a part. And, although I haven't seen Alphaville for years, I realized that the connections between these two films are important: the Mizraki score and the performance of Akim Tamiroff.Godard is such a great mannerist, and this film (Arkadin) is such a basic text for director - driven cinema. How can this film mean anything to anyone who doesn't understand the rage to create - against all odds, against one's self-destructive nature, against one's death wish? It is "breathless", truly. Scenes never give the impression of ending, everything is done in overdrive, people are constantly looming, dizzyingly moving in and out of shot; the grotesquerie of the bad acting rhymes with the grotesquerie of the costume set pieces and with that of the B movie Euro - freak character actors parading, one by one, in front of the camera for their star turns. "Feeding time" indeed! I saw Arkadin shortly after seeing Spielberg's Munich. The only similarity is in the constant change of location. But where in the Spielberg this functions as a celebration of money, budget and the power of illusion, here each location is both overcrowded and threadbare. The Munich of Arkadin is a bombed-out nightmare with traces of its former elegance. The Europe of this film is so haunted and sleepwalking; the world of this film is made up of bits and scraps. The fact that Arkadin connects closely to Kane or Quinlan is obvious and certainly interesting. Although it should seem obvious at this late date that Welles has patterns and themes that reoccur throughout his films. Does this fact still illuminate anything? If anybody questions the fact that Welles is an artist...well, this film will just add to their confusion. But for us believers this film can function like the ritual suffering of the penitents in the film. It hurts so good!

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