“The magnificence of the Ambersons began in 1873. Their splendor lasted throughout all the years that saw their midland town spread and darken into a city.” – The Narrator
The magnificence of Orson Welles began in 1941 with a film (in and of which he starred, wrote, produced, and directed) about America’s own Kubla Khan; a man who bore the name Charles Foster Kane. A film tender, radiant, and poignantly beautiful was Citizen Kane. An exciting piece of artwork that took the toll of 150, 000 dollars upon the company of Radio-Keith-Orpheum. But no matter was the commercial failure of Kane, for it opened the gate to the new standard; the one of avant-garde beauty.
Following the beauty of one, The Iconoclast (we will call him) crafted the beauty of another; the story of the well-to-doers, who fell from their grace with the evolution of society and industry (the low and poetic dialect of Welles pushed the tale forward with a delightful narration). The second film was as beautiful as the first, but this was something society could not and cannot see.
How ignorant that the film known as The Magnificent Ambersons, is overlooked by the society of now. How truly sad that so much poison can seep into the cracks of the mainstream Hollywood, while this film goes unnoticed by the so-called lovers of art. It’s an exceptionally odd act to portray a man’s first film as the greatest ever made, and not give mention of his equally incredible second.
I can truly say, of The Iconoclast’s film, that it exceeded my hopeful expectations and expanded my thoughts on what I considered “the best films of all time”. I also say that it’s quality was on par with the greatest aesthetics I’ve ever known. A tender, lyrical, yet topsy turvy illustration of a defining era of America. I find it necessary to hereby rate this among my top films and top works of art, thus granting it a place in my heart and ever-expanding mind.
From myself and all the others, who know: To Orson Welles, The Iconoclast, we salute.
Kyle W. Sutton
Words of the \"W\" 