Making a movie about making a movie is an ample way to end one’s movie career. It’s a mouthful, I know. The Other Side of the Wind is definitely an “Orson Welles’s” film. It might not be the piece he outrightly had fully invisioned, but if I’m not mistaken, it’s regardlessly, downright his “baby.” The recklessly suffused, flairful dialogue, the superlative performances, and the divergent, uncanny, directing/camera techniques. Yep, this is certainly an Orson Welles’s joint. He’s the one and only man who withholds this explicit combination.
To break all hopes and dreams, I would have to divulge that The Other Side of the Wind isn’t like “Welles’s Lost Masterpiece” or “A Missing Classic” or something of that appetency, but it’s nonetheless a nervy, gallant, brash arthouse delicacy. The marginally “documentary-esc” behavior Welles’s brings to the table makes for a tasteful cavern in his fabled collection.
Does Welles’s still—based off of personal opinion—lack an evocative amount of story consistencies once more? Yes, but frankly, I was so cinched into the filmmaking etiquette and utter “aww” of The Other Side of the Wind’s presentation that I was more than easily able to gloss over these blatant issues. Look, it’s been 40 years, the movie has finally been completed. I’m just cheerful we have permanently received a final-cut copy of this film. If I’m being quite honest right now, my fellow flick-dorks and dorkets, The Other Side of the Wind is a gratifying-enough bottle-cap fastener to Welles’s unmatched filmography. (Verdict: B)
38:18 to 49:32 is worthy of an A+ though. F’ing staggering. This ten minute sequence works as cinematic glit in its own rights.
The amount of irony that surrounds this film’s situation is too coincidental. It’s veritably, kind of intimidating.
1st Half > 2nd Half
My word. Oja Kodar. Classic example of flawless beauty. 🙌🏻
Burning the Celluloid 
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