Synopsis"Too Much Johnson" (2013) is a silent film directed by the acclaimed filmmaker Orson Welles. At first believed to be lost and not viewed for over 60 years, the workprint was found in 2008 in a storage facility in Italy and subsequently restored over a course of years by Cineteca del Friuli and George Eastman House. The quiet comedy was at first meant to be integrated into the 1938 Mercury Theatre stage production of the very same name (initially a farce by William Gillette), but this never ever emerged due to different problems.
Story"Too Much Johnson" revolves around a farcical series of accidents including a philandering businessman called Augustus Billings, impersonating a Cuban plantation owner named Johnson, together with his better half, an adventurous kid, and their conspiracy to deceive among Augustus's girlfriends. This narrative sprinkled with intertitles is communicated by Welles with his particular style for visual storytelling.
Cast and DirectionThe film features Joseph Cotten in the leading role as Augustus Billings together with other Mercury Theatre regulars Ruth Ford, Arlene Francis, Howard Smith, and Mary Wickes. With Orson Welles at the helm, "Too Much Johnson" appears to draw impact from slapstick funny customs, showcasing components similar to popular silent period stars such as Charlie Chaplin or Buster Keaton.
Production History and StyleThis movie represents among Welles's earliest efforts at cinema, preceding his groundbreaking "Citizen Kane" by a few years. Although it was never completed, this job displays several aspects typical of Wellesian style, such as low-angle shots, provocative editing, and dramatic shadow play.
Rediscovery and RestorationFor decades, "Too Much Johnson" was assumed lost after a 1970 fire at Welles's Spanish residence. However, the quiet film resurfaced in Pordenone, Italy, and was restored carefully by the George Eastman House and Cineteca del Friuli. The restored footage, albeit incomplete and without an original rating, was premiered at the 32nd Pordenone Silent Film Festival in 2013, and later New York, bringing to life a piece of Welles's early filmography that was long thought to have actually been lost.
Concluding RemarksWhile "Too Much Johnson" might not showcase the creative maturity in Welles's later acclaimed tasks, it certainly provides a valuable insight into his early experimentation with film language, using an invaluable item in the mosaic of his oeuvre. Regardless of the disjointed sequences and incomplete narrative, it stands testament to Welles's burgeoning cinematic vision, defined by his kinetic cinematography and ingenious storytelling. Even in its unfinished state, "Too Much Johnson" still exhibits a level of wit, dynamism, and inventiveness a sign of Welles's skillful creativity yet to come.
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