Tag Archives: Citizen Kane

The Stranger (1946)

As is the case with the work of many a cinematic genius, the filmography of Orson Welles is especially revealing when considered as a whole. Hits, flops, stretches of obsession, gaps of inactivity, passion projects and moneygrabs — in some ways this kind of retrospective review can tell us more about the filmmaker than the films themselves. It’s the “God’s-eye view,” to steal the name of an aerial shot favored by Welles, and it serves to highlight the ideas that the writer/director would experiment with, return to, or transform entirely in successive efforts. The other edge of the sword, of course, is that each individual film inexorably loses something when viewed alongside a slew of cinema which may otherwise share little by way of plot, theme, style or cultural impact.

The best case-in-point: The Stranger, Welles’ 1946 Nazi-hunting thriller. It was either his third or fourth feature outing, depending on whether you account for one technicality. His first two were Citizen Kane and The Magnificent Ambersons, utilizing a special technique called setting the bar high. But studio meddling with Ambersons soured Welles on Hollywood, and so his work on 1943’s Journey Into Fear is that aforementioned technicality. Tied up in a tussle over the final cut of Ambersons, Welles received no directing, producing or screenwriting credits in Journey, only appearing in a minor acting role as a Turkish inspector. In actuality Welles directed and wrote portions (at least) of Journey, and the theatrical poster seemingly has no issue declaring this as “ORSON WELLES’ Production…Starring ORSON WELLES.” Coincidentally or not, Journey Into Fear is a fairly feeble thriller that barely justifies a brief hourlong runtime.

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Batman: Mask of the Phantasm (1993)

I have a few favorite Batman moments, but the one that trumps them all occurs in the first Batman animated movie Mask of the Phantasm. The comic books are full of contenders, of course — the iconic “legends can never die!” panel in Jim Aparo’s “Man Behind the Mask”, the more-iconic moment in “Hearts in Darkness” when Batman rises from the grave, or the most-iconic “fiend from hell” moment from “The Demon Lives Again!” (which we talked about in our rundown on Batman Begins). The feature films have some epic moments as well, like the introductory call-to-arms of Batman Returns or the final ascension from the pit in The Dark Knight Rises. But Mask of the Phantasm captures what many of these moments capture — the determination of Bruce Wayne, the -ness of the Bat — in a unique way.

Phantasm, of course, is more than just the best animated Batman movie — it might be the best Batman movie, period. It certainly stands with the live-action iterations of Tim Burton and Christopher Nolan, and getting over the fact that Phantasm happens to be animated (as if that’s a point against it) is just a necessary assumption akin to classing The Incredibles at the top of the list of Best Superhero Films. It’s easy to forget about The Incredibles amid the present torrent of live-action Marvel hero flicks, just as it’s easy to forget that Mask of the Phantasm is without a doubt a better Batman film than at least 6/10 live-action Batfilms. I’ll let you figure out which ones I mean.

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