'The Other Side Of The Wind' is finally going to be officially released.
More than 30 years after the death of legendary filmmaker Orson Welles, Netflix has landed the rights to complete and reshoot his final movie 'The Other Side Of The Wind', which has remained incomplete since principal photography ended in 1976. Film buffs everywhere are eagerly awaiting the release.
Netflix is set to bring us Orson Welles
There's something deeply significant about Orson Welles finally getting a posthumous release of his labour of love 'The Other Side of the Wind'. In his lifetime, production of the flick was marred by sudden departures of cast and crew, lack of funding and legal issues - but it seems his ghost is finally being put to rest with its eventual distribution.
Producer Frank Marshall, who was a driving force of the original production, has fought tooth and nail over the last 40 years to complete the project, which was shot between 1970 and 1971 and starred John Huston, Bob Random, Peter Bogdanovich, Susan Strasberg, Oja Kodar and Dennis Hopper among others.
'I can't quite believe it, but after 40 years of trying, I am so very grateful for the passion and perseverance from Netflix that has enabled us to, at long last, finally get into the cutting room to finish Orson's last picture', said Frank.
Dennis Hopper appeared in the original movie
'The Other Side of the Wind' follows an ageing film director named Jake Hannaford who wishes to unveil a florid film-within-a-film at his 70th birthday party to a bunch of journalists who seem more interested in getting the scoop on his personal life than anything else he has to offer. As Jake gets more and more drunk, so events escalate into a frenzied and shocking ending.
This was a movie that was plagued with problems from the very start, and it has felt like a sad shame for many years that the legacy of this Academy Award winning, timeless movie legend has included a title that never even found its way into cinema. It echoes that of Charles Dickens, who died before he could finish 'Edwin Drood'; there's something tragic about art being left incomplete and, indeed, for anyone to take on the challenge of restoring and finishing it is like darning a hole in culture.
It's uplifting to see the fate of this project finally changing. Try as they might to get the film to cinema, with the crew having taken dramatically reduced salaries or sometimes no payment at all, in the end there was nothing they could do to thwart Welles' growing tax problem as his funds for the movie diminished before him. Already had they suffered setbacks, with one investor embezzling the budget and one of the actors abandoning his post halfway through filming. Legal difficulties over the ownership of the film arose in the late 70s, and the negatives were eventually impounded until recently.
The only regret one could have is that Orson Welles will not be around to see the impact that his complicated project will have on the world in 2017. With themes of Hollywood life, the voyeuristic nature of journalism and an experimental aesthetic, it certainly won't seem out of place among the satirical dramas of today.