It's All True Orson Welles

in july 1941, welles conceived s true omnibus film mixing documentary , docufiction in project emphasized dignity of labor , celebrated cultural , ethnic diversity of north america. have been third film rko, following citizen kane (1941) , magnificent ambersons (1942). duke ellington put under contract score segment working title, story of jazz , drawn louis armstrong s 1936 autobiography, swing music. armstrong cast play himself in brief dramatization of history of jazz performance, roots place in american culture in 1940s. story of jazz go production in december 1941.

mercury productions purchased stories 2 other segments— friend bonito , captain s chair —from documentary filmmaker robert j. flaherty. adapted norman foster , john fante, friend bonito segment of original s true go production. filming took place in mexico september–december 1941, norman foster directing under welles s supervision.

in december 1941, office of coordinator of inter-american affairs asked welles make film in brazil showcase carnaval in rio de janeiro. filming of friend bonito two-thirds complete, welles decided shift geography of s true , incorporate flaherty s story omnibus film latin america—supporting roosevelt administration s neighbor policy, welles advocated. in revised concept, story of jazz replaced story of samba, musical form comparable history , 1 came fascinate welles. decided ripped-from-the-headlines episode epic voyage of 4 poor brazilian fishermen, jangadeiros, had become national heroes. welles later said valuable story.

required film carnaval in rio de janeiro in february 1942, welles rushed edit magnificent ambersons , finish acting scenes in journey fear. ended lucrative cbs radio show february 2, flew washington, d.c., briefing, , lashed rough cut of ambersons in miami editor robert wise. welles recorded film s narration night before left south america: went projection room @ 4 in morning, did whole thing, , got on plane , off rio—and end of civilization know it.

welles left brazil on february 4 , began filming in rio february 8, 1942. @ time did not seem welles s other film projects disrupted, film historian catherine l. benamou wrote, ambassadorial appointment first in series of turning points leading—in zigs , zags, rather in straight line—to welles s loss of complete directorial control on both magnificent ambersons , s true, cancellation of contract @ rko radio studio, expulsion of company mercury productions rko lot, and, ultimately, total suspension of s true.

in 1942 rko pictures underwent major changes under new management. nelson rockefeller, primary backer of brazil project, left board of directors, , welles s principal sponsor @ rko, studio president george schaefer, resigned. rko took control of ambersons , edited film studio considered commercial format. welles s attempts protect version failed. in south america, welles requested resources finish s true. given limited amount of black-and-white film stock , silent camera, able finish shooting episode jangadeiros, rko refused support further production on film.

fired rko, welles later recalled. , made great publicity point of fact had gone south america without script , thrown money away. never recovered attack. later in 1942, when rko pictures began promoting new corporate motto, showmanship in place of genius: new deal @ rko , welles understood reference him.