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Orson Welles
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Orson Welles

Orson Welles in 1937 photograph by Carl Van Vechten.
Born George Orson Welles
May 6, 1915(1915-05-06)
Kenosha, Wisconsin, U.S.
Died October 10, 1985 (aged 70)
Los Angeles, California, U.S.
Years active 1934-1985
Spouse(s) Virginia Nicholson (1934-1940)
Rita Hayworth (1943-1948)
Paola Mori (1955-1985)
[show]Awards won
Academy Awards
Best Original Screenplay
1941 Citizen Kane
Life Achievement Award (1971)
Grammy Awards
Best Spoken Word Album
1977 Great American Documents
1979 Citizen Kane
1982 Donovan's Brain
Other Awards
AFI Life Achievement Award
1975 Lifetime Achievement

George Orson Welles (May 6, 1915 – October 10, 1985) was an Academy Award-winning American director, writer, actor and producer for film, stage, radio and television. Welles first gained wide notoriety for his October 30, 1938, radio broadcast of H. G. Wells' The War of the Worlds. Adapted to sound like a contemporary news broadcast, it caused a number of listeners to panic. In the mid-1930s, his New York theatre adaptations of an all-black voodoo Macbeth and a contemporary allegorical Julius Caesar became legendary. Welles was also an accomplished magician, starring in troop variety spectacles in the war years. During this period he became a serious political activist and commentator through journalism, radio and public appearances closely associated with Franklin D. Roosevelt. In 1941, he co-wrote, directed, produced and starred in Citizen Kane, often chosen in polls of film critics as the greatest film ever made. The rest of his career was often obstructed by lack of funds, incompetent studio interference and other unfortunate occurrences, both during exile in Europe and brief returns to Hollywood. Despite these difficulties Othello won the 1952 Grand Prix du Festival International du Film at the Cannes Film Festival and Touch of Evil won the top prize at the Brussels World Fair, while Welles himself considered The Trial and Chimes at Midnight to be the best of his efforts.

Although Welles remained on the margins of the major studios as a director/producer, his larger-than-life personality made him a bankable actor. In his later years he struggled against a Hollywood system that refused to finance his independent film projects, making a living largely through acting, commercials, and voice-over work. Welles received a 1975 American Film Institute Lifetime Achievement award, the third person to do so after John Ford and James Cagney. Critical appreciation for Welles has increased since his death. He is now widely acknowledged as one of the most important dramatic artists of the 20th century, in 2002 being voted as the greatest film director of all time in the British Film Institute's poll of Top Ten Directors .[1][2]

Contents [hide]
1 Biography
1.1 Youth and early career (1915 to 1934)
1.2 Renown in theatre and radio (1936 to 1940)
1.3 Welles in Hollywood (1939 to 1948)
1.4 After Citizen Kane
1.5 Post-World War II work (1946-1948)
1.6 Welles in Europe (1948 to 1956)
1.7 Return to Hollywood (1956 to 1959)
1.8 Return to Europe (1959 to 1970)
1.9 Return to United States and final years (1970 to 1985)
2 Religion
3 Death
4 Unfinished projects
5 In popular culture
6 Filmography
7 Awards and nominations
8 References
9 Further reading
10 External links

[edit] Biography

[edit] Youth and early career (1915 to 1934)
Orson Welles was born in Kenosha, Wisconsin, the second son of Richard Head Welles, then a manufacturer of vehicle lamps, and Beatrice Ives, a concert pianist and suffragette. During Welles' boyhood, he encountered many hardships. In 1919, his parents separated and moved to Chicago, and his father became an alcoholic and stopped working. Welles' mother died of jaundice on May 10, 1924, in a Chicago hospital, four days after Welles' ninth birthday. After his mother's death, Welles ceased pursuing his interest in music. Richard Welles died when Orson was 15, the summer after Orson's graduation from the Todd School for Boys in Woodstock, Illinois. Welles later revealed in interviews that he felt that he had neglected and betrayed his father.

Maurice Bernstein became his guardian, but his background for the role is improbable. Born in Russia, he came to Chicago in 1890, studied and became a successful physician. In a very few years, he had several wives, including the Chicago Lyric Opera soprano, Edith Mason. Edith divorced company director Giorgio Polacco to marry Bernstein. Not long thereafter, they divorced and she remarried Polacco. In 1930, Bernstein was living in Highland Park, a suburb of Chicago, as a wealthy physician with another wife and child, claiming to have been born in Illinois to parents from New York.

At Todd, Welles came under the positive influence and guidance of Roger Hill, a teacher who later became Todd's headmaster. Hill provided Welles with an 'ad hoc' educational environment that proved invaluable to his creative experience, allowing Welles to concentrate on subjects that interested him. Welles performed and staged his first theatrical experiments and productions there.

On his father's death, Welles traveled to Europe with the aid of a small inheritance. While on a walking and painting trip through Ireland, he strode into the Gate Theatre in Dublin and claimed he was a Broadway star. Gate manager Hilton Edwards later claimed he didn't believe him but was impressed by his brashness and some impassioned quality in his audition. Welles made his stage debut at the Gate in 1931, appearing in Jew Suss as the Duke. He acted to great acclaim, acclaim that reached the United States. He performed smaller supporting roles as well. On returning to the United States he found his brief fame ephemeral and turned to a writing project at Todd that would become the immensely successful Everybody's Shakespeare, and subsequently, The Mercury Shakespeare. Welles traveled to North Africa while working on thousands of illustrations for the Everybody's Shakespeare series of educational books, a series that remained in print for decades.

An introduction by Thornton Wilder led Welles to the New York stage. He toured in three off-Broadway productions with Katharine Cornell's company. Restless and impatient when the planned Broadway opening of Romeo and Juliet was canceled, Welles staged a drama festival of his own with the Todd School, inviting Micheál MacLiammóir and Hilton Edwards from Dublin's Gate Theatre to appear, along with New York stage luminaries. It was a roaring success. The subsequent revival of Romeo and Juliet brought Welles to the notice of John Houseman, who was then casting for an unusual lead actor and about to take a lead role in the Federal Theatre Project. Houseman was especially impressed by Welles' youth, wed to what appeared to be an overabundant creative certainty and drive.[citation needed]

By 1935 Welles was supplementing his earnings in the theater as a radio actor in New York City, working with many of the actors who would later form the core of his Mercury Theatre. He married actress and socialite Virginia Nicholson in 1934. They had one daughter, Christopher, who became known as Chris Welles Feder, an author of educational materials for children. Welles also shot an eight-minute silent short film, The Hearts of Age with Nicholson.

[edit] Renown in theatre and radio (1936 to 1940)
In 1936, the Federal Theatre Project (part of Roosevelt's Works Progress Administration) put unemployed theatre performers and employees to work. Welles was hired by John Houseman and assigned to direct a project for Harlem's American Negro Theater. Wanting to give his all-black cast a chance to play classics, he offered them Macbeth, moved to Haiti at the court of King Henri Christophe (and with a setting of voodoo witch doctors). Jack Carter played Macbeth. The play was rapturously received and later toured the nation. It is considered a landmark of African-American theatre. At 20 Welles was hailed as a prodigy.

Welles in a recording studio, 1938
An electrical transcription disk of the Orson Welles War of the Worlds broadcast.After the success of Macbeth, Welles mounted the absurd farce Horse Eats Hat. He consolidated his "White Hope" reputation with Dr Faustus. This was even more ground-breaking theatre than Macbeth, using light as a prime unifying scenic element in a nearly blacked-out stage. In 1937, he rehearsed Marc Blitzstein's pro-union "labour opera" The Cradle Will Rock. Because of severe federal cutbacks and perhaps rumoured Congressional worries about communist propaganda in the Federal Theatre, the show's premiere at the Maxine Elliott Theatre was cancelled and the theatre locked and guarded by National Guardsmen. In a last-minute theatrical coup Welles announced to waiting ticket-holders that the show was being transferred to the Venice, about twenty blocks away. Cast, crew and audience walked the distance on foot. Since the unions forbade the actors and musicians performing from the stage, The Cradle Will Rock began with Blitzstein introducing the show and playing the piano accompaniment on stage, with the cast performing their parts from the audience. This impromptu performance was a tremendous hit.

Resigning from the Federal Theatre, Welles and Houseman formed their own company, the Mercury Theatre, which included actors such as Agnes Moorehead, Joseph Cotten, Ray Collins, George Coulouris, Frank Readick, Everett Sloane, Eustace Wyatt and Erskine Sanford, all of whom would continue to work for Welles for years. The first Mercury Theatre production was a melodramatic and heavily edited version of Shakespeare's Julius Caesar, set in a contemporary frame of fascist Italy. Cinna the Poet dies at the hands not of a mob but a secret police force. According to Norman Lloyd, who played Cinna, "it stopped the show." The applause lasted more than 3 minutes and the production was widely acclaimed.

Welles was increasingly active on radio, as an actor and soon as a director and producer. He played Hamlet for CBS on The Columbia Workshop, adapting and directing the play himself. The Mutual Network gave him a seven-week series to adapt Les Misérables, which he did with great success. Welles was chosen to anonymously play Lamont Cranston, The Shadow, in late 1937 (again for Mutual) and in the summer of 1938 CBS gave him (and the Mercury Theatre) a weekly hour-long show to broadcast radio plays based on classic literary works. The show was titled The Mercury Theatre on the Air, with original music by Bernard Herrmann, who would continue working with Welles on radio and in films for years.

Their October 30 broadcast, H. G. Wells' The War of the Worlds, brought Welles notoriety and instant fame on both a national and international level. The fortuitous mixture of news bulletin format with the between-breaks dial spinning habits of listeners from the rival and far more popular Edgar Bergen/Charlie McCarthy program, created widespread confusion among late tuners. Panic spread among many listeners who believed the news reports of an actual Martian invasion. The resulting panic was duly reported around the world and disparagingly mentioned by Adolf Hitler in a public speech a few months later[citation needed]. Welles' growing fame soon drew Hollywood offers, lures which the independent-minded Welles resisted at first. However, The Mercury Theatre on the Air, which had been a "sustaining show" (without sponsorship) was picked up by Campbell Soup and renamed The Campbell Playhouse.

[edit] Welles in Hollywood (1939 to 1948)
RKO Pictures president George Schaefer eventually offered Welles what is generally considered the greatest contract ever offered to an untried director: complete artistic control. RKO signed Welles in a two-picture deal; including script, cast, crew, and most important, final cut, though Welles had a budget limit for his projects. With this contract in hand, Welles (and nearly the entire Mercury Theatre) moved to Hollywood. He commuted weekly to New York to maintain his The Campbell Playhouse commitment.

Welles toyed with various ideas for his first project for RKO Pictures, settling on an adaptation of Joseph Conrad's Heart of Darkness, which he worked on in great detail. He planned to film the action with a subjective camera from the protagonist's point of view. However, the darkened international political climate created marketing restrictions across Europe. When a budget was drawn up, RKO's enthusiasm cooled, as it was greater than the previously agreed limit. The anti-fascist tenor of the story was now suddenly problematic too. RKO also declined to approve another Welles' project, The Smiler with the Knife, for similar political reasons and ostensibly because they lacked faith in Lucille Ball's ability to carry the leading lady role.

In a sign of things to come, Welles left The Campbell Playhouse in 1940, due to creative differences with the sponsor. The show continued without him, produced by John Houseman. In perhaps another sign of things to come, Welles' first actual experience on a Hollywood film was as narrator for RKO's 1940 production of Swiss Family Robinson.

Welles found a suitable film project in an idea he conceived with screenwriter Herman J. Mankiewicz (who was then writing radio plays for The Campbell Playhouse). Initially called American, it would eventually become Welles's first feature film, Citizen Kane (1941).

Mankiewicz based his original notion on an expose of the life of William Randolph Hearst, whom he knew socially but now hated, having once been great friends with Hearst's mistress, Marion Davies. Mankiewicz was now banished from her company because of his perpetual drunkenness. Mankiewicz, a notorious gossip, exacted revenge with his unflatteringly depiction of Davies in Citizen Kane for which Welles got most of the criticisms; Welles also had a connection with Davies through his first wife. Kane's megalomaniac personality was also loosely modeled on Robert McCormick, Howard Hughes, and Joseph Pulitzer, as Welles wanted to create a broad, complex character, intending to show him in the same scenes from several points of view. The use of multiple narrative perspectives in Conrad's Heart of Darkness also influenced the treatment. Supplying Mankiewicz with 300 pages of notes Welles urged him to write the first draft of a screenplay under the watchful nursing of John Houseman, who was posted to insure Mankiewicz stayed sober. On Welles's instruction, Houseman wrote the opening narration as a pastiche of The March of Time newsreels. Taking these drafts, Welles drastically condensed and rearranged them, then added scenes of his own.

The resulting character of Charles Foster Kane is loosely based on parts of Hearst's life. Nonetheless, with perhaps sly and barely disguised malice towards their young boss, Mankiewicz and Houseman cunningly worked in autobiographical allusions to Welles himself, most noticeably in the treatment of Kane's childhood, particularly regarding his guardianship. Welles then added features from other famous American lives to create a general and mysterious personality rather than the narrow journalistic portrait intended by Mankiewicz, whose first drafts included scandalous claims about the death of the film director Thomas Ince, killed on an excursion on a Hearst yacht. Ironically, Mankiewicz later argued, probably astutely, that if this material had been left in Hearst would never have dared to make the public connection to his own life and would have left the film alone.

Once the script was completed Welles attracted some of Hollywood's best technicians, including cinematographer Gregg Toland, who walked into Welles office and announced he wanted to work on the picture. For the cast, Welles primarily used actors from his Mercury Theatre. Grasping that films were a collaboration, he invited suggestions from everyone, but only if they were directed through him.

There was little concern over the Hearst connection when Welles completed production on the film. However, Mankiewicz handed a copy of the final shooting script to his friend Charles Lederer, now husband of Welles' ex-wife Virginia Nicholson and nephew of Hearst's mistress Marion Davies. Hedda Hopper saw a small ad in a newspaper for a preview screening of Citizen Kane and went. Hopper, realizing immediately that the film was based on features of Hearst's life, reported this back to him and threatened to give "Hollywood, Private Lives" if that was what it wanted. Thus began the struggle over the attempted suppression of Citizen Kane.

Hearst's media empire boycotted the film. It exerted enormous pressure on the Hollywood film community by threatening to expose 15 years of suppressed scandals and the fact that most of the studio bosses were Jewish. At one point, the heads of the major studios jointly offered RKO the cost of the film in exchange for the negative and all existing prints, for the express purpose of burning it. RKO declined, and the film was given a limited release. Meanwhile, Hearst successfully intimidated theatre chains by threatening to ban advertising for any of their other films in any of his papers if they showed Citizen Kane. RKO didn't own many theatres, so few moviehouses actually dared to screen Citizen Kane.

While the film was critically well-received, by the time it reached the general public the positive tide of publicity had waned. It garnered nine Academy Award nominations, but won only for Best Original Screenplay, shared by Mankiewicz and Welles. The delay in its release and its uneven distribution contributed to its average result at the box-office, making back its budget and marketing, but RKO lost any chance of a major profit. The fact that Citizen Kane ignored many Hollywood conventions also meant that the film confused and angered the 1940s cinema public. Exhibitor response was scathing; most theater owners complained bitterly about the adverse audience reaction and the many walkouts, and only a few saw fit to acknowledge Welles's artistic technique. RKO shelved the film and did not re-release it until 1956. During the 1950s, the film came to be seen by young French film critics such as Francois Truffaut as exemplifying the "auteur theory," in which the director is the "author" of a film. Truffaut, Godard and others were inspired by Welles' example to make their own films, giving birth to the Nouvelle Vague. In the 1960s Citizen Kane became popular on college campuses, both as a film-study exercise and as an entertainment subject. Its frequent revivals on television, home video, and DVD have enhanced its "classic" status, and it ultimately recouped its costs.

The 1996 documentary The Battle Over Citizen Kane chronicles the battle between Welles and Hearst. In 1999, RKO 281, an HBO docudrama, tells the story of the making of Citizen Kane, starring Liev Schreiber as Orson Welles.

[edit] After Citizen Kane
Welles' second film for RKO was The Magnificent Ambersons, adapted from the Pulitzer Prize-winning novel by Booth Tarkington. George Schaefer hoped to make back the money lost by Citizen Kane. Ambersons had already been adapted for The Campbell Playhouse by Welles, who wrote the screen adaptation himself. Toland was not available, so Stanley Cortez was named cinematographer. The meticulous Cortez, however, was slow and the film lagged behind schedule and over budget.

At RKO's request, simultaneously, Welles worked on an adaptation of Eric Ambler's spy thriller, Journey Into Fear, which he co-wrote with Joseph Cotten. In addition to acting in the film, Welles was also producer. Direction was credited solely to Norman Foster. Welles later stated that they were in such a rush that the director of each scene was whoever was closest to the camera.

Welles was then offered a new radio series by CBS. Called The Orson Welles Show, it was a half-hour variety show of short stories, comedy skits, poetry and musical numbers. Joining the original Mercury Theatre cast was Jiminy Cricket, "on loan from Walt Disney." The variety format was unpopular with the listeners, and Welles was soon forced into full half-hour stories instead.

To further complicate matters during the production of Ambersons and Journey into Fear, Welles was approached by Nelson Rockefeller and Jock Whitney to produce a documentary film about South America. This was at the behest of the federal government's Good Neighbor Policy, a wartime propaganda effort designed to prevent Latin America from allying with the Axis Powers. Welles saw his involvement as a form of national service, because his physical condition excused him from direct military service.

Expected to film the Carnaval in Rio de Janeiro, Brazil, Welles rushed to finish the editing on Ambersons and his acting scenes in Journey into Fear. Ending his CBS radio show, he lashed together a rough cut of Ambersons with Robert Wise, who had edited Citizen Kane, and left for Brazil. Unfortunately, to get Ambersons made, Welles had renegotiated away his original contract for final cut.

Wise was to join him in Rio to complete the film but never arrived. Other moves were afoot at RKO. A provisional final cut arranged via phone call, telegram, and shortwave radio was previewed without Welles' approval in Pomona in a double bill, to a mostly negative audience response, in particular to the character of Aunt Fanny played by Agnes Moorehead.

Whereas Schaefer argued that Welles be allowed to complete his own version of the film, and that an archival copy be kept with the Museum of Modern Art in New York City, RKO was in no mood for such aesthetic niceties.

RKO studio management was in turmoil as Charles Koerner staged a management coup against Schaefer. It took control of the film, formed a committee which was ordered to remove fifty minutes of Welles' footage, re-shot sequences, rearranged the scene order, and tacked on a happy ending. Schaefer was replaced as RKO President by Koerner, who released the shortened film on the bottom of a double-bill with the Lupe Velez comedy Mexican Spitfire Sees a Ghost, thus providing the last nail in the coffin for both Welles's and Schaefer's careers. Ambersons was an expensive flop for RKO, though it received four Academy Award nominations including Best Picture and Best Supporting Actress for Agnes Moorehead.

Welles' South American documentary, titled It's All True, budgeted at one million dollars with half of its budget coming from the U.S. Government upon completion, was treated scarcely better by RKO. They closed down the production, withdrew most of the crew and kicked the Mercury staff out of the studio while Welles was still in Brazil.

In It's All True, Welles recreated the journey of the jangadeiros, four poor fishermen who had made a 1500-mile journey on their open raft to petition Brazilian President Vargas about their working conditions. The four had become national folk heroes, Welles first read of their journey in Time. Despite their leader, Jacare, dying during a filming mishap, Welles begged to be able to finish the film. He was given a limited amount of black-and-white stock and a silent camera. He completed the sequence, but RKO refused to let him complete the film. Surviving footage was released in 1993, including a rough reconstruction of the Four Men on a Raft segment. Meanwhile, RKO launched a premeditated publicity campaign against Welles, falsely claiming he had gone to Brazil without a screenplay, and that he had squandered a million dollars. Their official company slogan was pointedly changed to "Showmanship in place of Genius."

Unable to continue work as a film director after the twin disasters of The Magnificent Ambersons and It's All True, Welles worked on radio. CBS offered him two weekly series, Hello Americans, based on the research he'd done in Brazil, and Ceiling Unlimited, sponsored by Lockheed, a wartime salute to advances in aviation. Both featured several members of his original Mercury Theatre. Within a few months, Hello Americans was canceled and Welles was replaced as host of Ceiling Unlimited by Joseph Cotten. Welles guest-starred on a great variety of shows, notably guest-hosting Jack Benny's show for a month in 1943. He took an increasingly active role in American and international politics and used journalism to communicate his forceful ideas widely.

In 1943 Welles married Rita Hayworth. They had one child, Rebecca Welles, and divorced five years later in 1948. In between, Welles found work as an actor in other directors' films. He starred in the 1943 film adaptation of Jane Eyre, trading credit as associate producer for top billing over Joan Fontaine. He also had a cameo in the 1944 wartime salute Follow the Boys, in which he performed his Mercury Wonder Show magic act and sawed Marlene Dietrich in half after Columbia Pictures head Harry Cohn refused to allow Hayworth to perform.

In 1944 Welles was offered a new radio show, broadcast only in California. Orson Welles' Almanac was another half-hour variety show, with Mobil Oil as sponsor. After the success of his stand-in hosting on The Jack Benny Show, the focus was primarily on comedy. His hosting on Jack Benny included several self-deprecating jokes and story lines about his being a "genius" and overriding any ideas advanced by other cast members. The trade papers were not eager to accept Welles as a comedian, and Welles often complained on-air about the poor quality of the scripts. When Welles started his Mercury Wonder Show a few months later, traveling to Armed Forces camps and performing magic tricks and doing comedy, the radio show was broadcast live from the camps and the material took a decidedly wartime flavor. Of his original Mercury actors, only Agnes Moorehead was left. The series was cancelled by year's end due to poor ratings.

While his suitability as a film director remained in question, Welles' popularity as an actor continued. Pabst Blue Ribbon gave Welles their radio series This Is My Best to direct, but after one month he was fired for creative differences. He started writing a political column for the New York Post, again called Orson Welles Almanac. While the paper wanted Welles to write about Hollywood gossip, Welles explored serious political issues. His activism for world peace took considerable amounts of his time. The Post column eventually failed in syndication because of contradictory expectations and was dropped by the Post.

[edit] Post-World War II work (1946-1948)
In 1946, International Pictures released Welles' film The Stranger, starring Edward G. Robinson, Loretta Young and Welles. Sam Spiegel produced the film, which follows the hunt for a Nazi war criminal living under an alias in America. While Anthony Veiller was credited with the screenplay, it had been rewritten by Welles and John Huston. Welles' most imaginative work on the film was cut out by Spiegel, and the result apart from some bravura sequences on the clock tower or evoking the small town atmosphere, was a comparatively conventional Hollywood thriller. It was successful at the box office but Welles resolved not to have a career as a cog in a Hollywood studio. He resumed his struggle for the creative control which had originally brought him to Hollywood.

In the summer of 1946, Welles directed a musical stage version of Around the World in Eighty Days, with a comedic and ironic rewriting of the Jules Verne novel by Welles, incidental music and songs by Cole Porter, and production by Mike Todd, who would later produce the successful film version with David Niven. When Todd pulled out from the lavish and expensive production, Welles supported the finances himself. When he ran out of money at one point, he convinced Columbia president Harry Cohn to send him enough to continue the show, and in exchange Welles promised to write, produce, direct and star in a film for Cohn for no further fee. The stage show would soon fail due to poor box-office, with Welles unable to claim the losses on his taxes. He wound up owing the IRS several hundred thousand dollars, and in a few years time Welles would seek tax-shelter in Europe.

At the same time in 1946 he began two new radio series, The Mercury Summer Theatre for CBS and Orson Welles Commentaries for ABC. While Summer Theatre featured half-hour adaptations of some of the classic Mercury radio shows from the 1930s, the first episode was a condensation of his Around the World stage play, and remains the only record of Cole Porter's music for the project. Several original Mercury actors returned for the series, as well as Bernard Herrmann. It was only scheduled for the summer months, and Welles invested his earnings into his failing stage play. Commentaries was a political soap-box, continuing the themes from his New York Post column. Again Welles lacked a clear focus, until the NAACP brought to his attention the case of Isaac Woodard. Welles devoted the rest of the run of the series to Woodard's cause, was the first broadcaster to bring it to national attention, and caused shock waves across the nation. Soon Welles was being hung in effigy in the South and The Stranger was banned in several southern states. ABC was unable to find a sponsor for the radio show and soon canceled it. Welles never had a regular radio show in America again and would never direct another anywhere.

The film for Cohn wound up being The Lady from Shanghai, filmed in 1947 for Columbia Pictures. Intended to be a modest thriller, the budget skyrocketed after Cohn suggested that Welles' then-estranged second wife Rita Hayworth co-star. Cohn was enraged by Welles' rough-cut, in particular the confusing plot and lack of close-ups, and ordered extensive editing and re-shoots. After heavy editing by the studio, approximately one hour of Welles' first cut had been removed. While expressing dismay at the cuts, Welles was particularly appalled by the soundtrack, objecting to the musical score he thought more suitable for a Disney cartoon and the lack of the ambient soundscape he had designed. The film was considered a disaster in America at the time of release. Welles recalled people refusing to speak to him about it to save him embarrassment. Not long after release, Welles and Hayworth finalized their divorce. Though the film was acclaimed in Europe, it was not embraced in the US for several decades. A similar situation occurred when Welles suggested to Charles Chaplin that he star in a film directed by Welles based on the life of the French serial killer, Henri Désiré Landru. Chaplin instead adapted the idea for his own film, Monsieur Verdoux, with Welles officially credited for the idea. The film proved a failure opening during a time when Chaplin was publicly vilified, but since has gone on to be acclaimed as a classic black comedy.

Unable to find work as a director at any of the major studios, in 1948 Welles convinced Republic Pictures to let him direct a low-budget version of Macbeth, which featured papier mâché sets, cardboard crowns and a cast of actors lip-syncing to a prerecorded soundtrack. Republic did not care for the Scottish accents on the soundtrack and held up release for almost a year. Welles left for Europe, while his co-producer and life-long supporter Richard Wilson reworked the soundtrack. Welles ultimately returned and cut twenty minutes from the film at Republic's request and recorded narration to cover the gaps. The film was decried as another disaster. In the late 1970s, Macbeth was restored to Welles' original version.

During this time, Welles sought to adapt the radio and serial series The Shadow to the big screen. He aimed to direct, produce, write and star in the film, but the project collapsed when he failed to find any investors. The Mark Millar article detailing Welles' attempt at a Batman film is partially inspired by this.

[edit] Welles in Europe (1948 to 1956)
Welles left Hollywood for Europe in late 1947, enigmatically saying he had chosen "freedom". This must refer to both acting offers and the possibility of directing and producing films again. There is now compelling evidence that Welles was blacklisted in Hollywood, after years of propaganda by the Hearst empire labeling him a communist and years of FBI investigations prompted by J. Edgar Hoover.

In Italy he starred as Cagliostro in the 1948 film Black Magic. His co-star, Akim Tamiroff, impressed Welles so much that he appeared in four of Welles' own productions during the 1950s and 1960s.

The following year, Welles appeared as Harry Lime in The Third Man, written by Graham Greene, directed by Ca