THE OTHER SIDE OF THE WIND returns us to the late 1950s and 1960s when viewing a film - HIROSHIMA MON AMOUR, JULES AT JIM, LA AVVENTURA, 8 1/2, PIERROT LE FOU, FACES -- appreciatively required an effort of viewer imagination. (Theater aficionados may think Ionesco and Pinter.) At first we are inundated with puzzling images, the cacophony of faces at the film's birthday party ; but that is Welles' way of plunging us into the enigmatic and multiply beleaguered world of protagonist Hannaford, strikingly portrayed by John Huston For further entry into the Hannaford's mind we have the film within the film shown at the party, a projection of Hannaford's obsession beyond what we can piece together from the partiers and Hannaford's facial and verbal responses to them. Throughout engagement is advanced by the rhythms of the film's editing. Ultimately the film movingly coheres as a tragedy of an unusually dark ironic sort, a satire in which the satirized world triumphs over the satirist and the protagonist is the butt of the jokes.
The Other Side of the Wind (2018) 1080p YIFY Movie
The Other Side of the Wind (2018) 1080p
The Other Side of the Wind is a movie starring John Huston, Oja Kodar, and Peter Bogdanovich. A Hollywood director emerges from semi-exile with plans to complete work on an innovative motion picture.
IMDB: 7.33 Likes
The Synopsis for The Other Side of the Wind (2018) 1080p
A Hollywood director emerges from semi-exile with plans to complete work on an innovative motion picture.
The Director and Players for The Other Side of the Wind (2018) 1080p
The Reviews for The Other Side of the Wind (2018) 1080p
A Return to the Art FilmReviewed byahicks-2Vote: 9/10
Hannaford is Welles. The party establishes Welles' views of the Hollywood dynamic, paparazzi-like cameras hiding all around, critics spouting critical attacks, and most importantly, the search for funding, all presented in the carnival-like atmosphere that it was. Meanwhile Hannaford's film, debauched and beautiful represents the type of film Welles would have liked to make but wouldn't be allowed to make due to a lack of belief in it's commercial viability. This imagery is trully visually amazing. The juxtaposition of these"two" films is fascinating, with Hannaford/Welles resigned to Hollywood's view of artistry in film as being non-commercial and that film is destined to move towards the commercial trash and superhero garbage that makes a billion every other week. This is film as prophecy from the unwanted and exiled genius.
The tl;dr: I think The Other Side of the Wind richly rewards repeated viewing. Maybe that means its for Welles fans and completists. If you are one, dig in. If you're not, approach with caution; there's still a lot to enjoy, but you can't expect it to be served in the usual way. And if you think you might be one, read on-
Although Citizen Kane was well received by those who got to see it when first released (it was Hearst's embargo that ruined it commercially), it must have been a bit of a challenge for viewers used to a chronological narrative driven by plot, although it's not hard to grasp that it coheres around the unraveling the mystery of Kane's personality. In contrast, The Other Side of the Wind seems to lack any coherence: it's documentary footage of director Jake Hannaford's birthday party intercut with footage shown there from his unfinished last movie, which is also entitled The Other Side of the Wind. But on second viewing (yes, I had to watch it twice to get this, and maybe that counts against it and reveals me to be a fan rather than an impartial viewer), it becomes clear it's also about undoing the mystery around a man, Hannaford, another larger than life figure. Where the psychosexual aspect of Kane's personality was encoded in a bad joke ("Rosebud" was Hearst's nickname for Marion Davies' private parts), here it's front and center. Hannaford's movie, such as it is, is explicitly erotic, showing a passive male being stalked by a sexually hungry female; the conversation around Hannaford at his birthday concerns his past loves, and Hannaford's friends and entourage display disturbing levels of aggression, dependency, and thwarted homoeroticism-except for the one woman among them, Zarah, an older actress who claims she and Hannaford were never initimates, and whom Hannaford addresses as "Mother." The other adult woman, critic Julie Rich (and based on Pauline Kael?), is an outsider looking for a pat "answer" to Hannaford's mysteries, and whose sallies in this direction also shed light while her conclusion should be rejected as, well, pat and simplistic. That all this is disclosed to the viewer as the funding for Hannaford's last picture collapses and its male lead goes missing is not an accident: Hannaford's public persona is collapsing and with it goes not just his ability to navigate the business aspect of making movies, but the source of his creative abilities as well. While each scene from Hannaford's birthday may seem random and disconnected from a plot perspective, they each reveal new aspects and depths to his inner conflicts and the now dead (or at least dying) sources of his creativity, and the successive scenes of Hannaford's last movie build to a denouement explicitly showing what is only hinted at in the party scenes (and no, it's not that Hannaford is a latent homosexual)
This may make it sound as if The Other Side of the Wind is an intellectual challenge (or at least a puzzle for the viewer to put together) rather than a movie that can be straightforwardly enjoyed, but that's not the case. The performances are terrific, vivid, and there are many unexpected delights scattered throughout. The visual style of the film within a film is a deliciously nasty parody of Michelangelo Antonioni's (who Welles' evidently derided as a "festival director"), while its editing pace is thoroughly Wellesian, and that it manages to be linear and driven despite lacking dialogue is a piece of bravura technique (or maybe just showing off, but still amazing and fun). John Huston's performance is wonderful, a shambling mess of a man who can still terrify, control, and seduce. Lilli Palmer's Zarah is an eerie echo of Marlene Dietrich's Tanya in Touch of Evil. There is a riveting and disturbing scene with boarding school teacher that maybe discloses something about Welles' own boarding school experiences. And who knew that Peter Bogdanovich was such a good impressionist? Had the party scenes been shot and edited in a more conventional way, The Other Side of the Wind might be more accessible: think the party scene from All About Eve on steroids (which, considering The Other Side of the Wind is about the simultaneous fall of old Hollywood and old macho, isn't just a wisecrack). But the frenetic editing pace and variety of film stocks used for the party scenes render it all challenging, even for viewers used to contemporary action-adventure movies.
To paraphrase Tanya's last line in Touch of Evil: It all, it was some kind of film. What does it matter what you say about movies?