In 1937, a teenager is cast in the Mercury Theatre production of "Julius Caesar", directed by a young Orson Welles.In 1937, a teenager is cast in the Mercury Theatre production of "Julius Caesar", directed by a young Orson Welles.In 1937, a teenager is cast in the Mercury Theatre production of "Julius Caesar", directed by a young Orson Welles.
- Nominated for 1 BAFTA Award
- 5 wins & 27 nominations total
- Director
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Storyline
Did you know
- TriviaThe real Norman Lloyd denounced the film, and pointed out that contrary to his portrayal as a lecher, he was a recently married man at the time. This was a happy marriage which lasted many decades until his wife's death. He also took exception to the depiction of Orson Welles as a bullying director and said that he had never seen Welles, with whom he worked often, behave in such a manner, adding that, also, "we wouldn't have stood for it!" He did however concede that Christian McKay's performance as Welles was excellent.
- GoofsRichard accompanies Orson to 485 Madison Ave (CBS) for a "recording session" for a radio show ("The First Nighter" program). At this time (1937) and until the late 40s network programs were broadcast live, never recorded. Most programs were produced live twice, once for the East Coast and three hours later from the West Cost.
- Quotes
Orson Welles: You really are a god created actor Richard. Those weren't just words you see. I recognize 'The Look'.
Richard Samuels: The Look?
Orson Welles: The bone deep understanding that your life is so utterly without meaning that simply to survive you have to reinvent yourself. Because if people can't find you, they can't dislike you. You see if I can be Brutus for 90 minutes tonight; I mean really be him, from the inside out; then for 90 minutes I get this miraculous reprieve from being myself. That's what you see in every great actor's eyes.
- Crazy creditsGilson Lavis is listed as "Drumer" instead of "Drummer".
- ConnectionsFeatured in Live from Studio Five: Episode #1.48 (2009)
- SoundtracksThis Year's Kisses
Written by Irving Berlin
(C) Irving Berlin Music Corp (ASCAP)
All Rights Administered by Warner/Chappell Music Ltd.
All Rights Reserved
Performed by Helen Ward & Benny Goodman & His Orchestra
Courtesy of Bluebird/Novus/RCA Victor
By arrangement with Sony BMG Entertainment
The key is staring us all in the face; it's in the title. "Me & Orson Welles" (notice the audacity of putting "Me" before "Orson Welles") is a scathing portrayal of the unapologetic one-upmanship and venomous diva mentality which apparently dominates the entertainment industry and always has. Orson Welles is shown to be arrogance personified, and understandably so, but far more unsettling is the way every member of the stage community, from the leading lady all the way down to the lowly set designer, is equally self-centered and demanding "me me me". What's very clever about this movie is that it's very subtle. This is not a thick satire like "Catch-22" or a society-deprecating fable like "Edward Scissorhands" which immediately shows us the fault in the human condition. No, this is so subtle that most people may not even catch the sarcasm at work.
Aside from good looks, not a single character is likable. Claire Danes with her breezy smile and undeniably cute face plays a theater gold-digger so adept with her ladder climbing you'd think she was a firefighter. Always on her way to rendezvous with the latest producer/celebrity du jour, you start to wonder if she has a soul behind those dark eyes. Hats off to Claire for being able to play such a destestable character with grace, elegance and charm that makes us overlook her selfish agenda and instead become captivated by her. Other characters are more obvious with their self-serving natures, demanding more lines, special lighting, and everything short of a bowl of m&m's with all the brown ones removed. (Any 80s hair band fans out there? That's a reference to Van Halen's bizarre demand/prank at every concert.)
Ironically, and brilliantly, the one character whom I found to be thoroughly likable despite his selfishness was Orson Welles himself. This is simply because he openly and unapologetically makes himself the despotic king (much like Julius Caesar, the play they are performing), while all the other characters are toadies and yes-men who hypocritically assume their subservient roles in the pecking order. But Orson is shown to be probably how he was in real life: a master manipulator and Machiavellian stage tyrant whom you gotta love because he lets everyone know exactly what they're in for, should they choose to join his bizarre circus known as the Mercury Theater.
Now enter Zac Ephron's wide-eyed, idealistic and naïve character "Junior" who is thrown into this bizarre food chain, full of ridiculous notions like giving credit where credit is due, respect for others, and of course the most doomed concept to enter a theater since Abraham Lincoln, "love". Zac Ephron's monologue near the end when he recites a verse in class is chilling, and the sinister stare he gives as he delivers the last line is indicative that he has learned a thing or two about theater. Pay attention to that monologue because it sums up everything I'm saying here.
I think if you're intrigued by dark (yet subtle) themes like this, then you'll have a great time. I have to strongly disagree with a few other reviewers' descriptions using words like "charming", "nostalgic" and "wonderful". That's like saying Beethoven's 5th symphony was a real toe tapper in "Clockwork Orange". Knowing director Richard Linklater's body of work including muckraking films like "Fast Food Nation" and even the insidiously disturbing teen flick "Dazed and Confused", I have no doubt that "Me & Orson Welles" was a deliberate anti-romance. And I don't mean romance between two people; I mean the romance of a young lad and his first "kiss" with the theater. Definitely check out this flick if you're up for a challenge and not afraid to get a little dirty.
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- Release date
- Countries of origin
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- Also known as
- Me & Orson Welles
- Filming locations
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- See more company credits at IMDbPro
Box office
- Budget
- $25,000,000 (estimated)
- Gross US & Canada
- $1,190,003
- Opening weekend US & Canada
- $63,638
- Nov 29, 2009
- Gross worldwide
- $2,336,172
- Runtime1 hour 54 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1
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