CONFIDENTIAL REPORT

US, 1955, 105 minutes (2006 restored version), Black and white.
Orson Welles, Akim Tamiroff, Gregoire Aslan, Patricia Medina, Jack Watling, Mischa Auer, Peter Van Eyck, Michael Redgrave, Susanne Flon, Katina Paxinou, Paola Mori, Robert Arden, Terence Longdon.
Directed by Orson Welles.

Confidential Report was written and directed by Orson Welles – also using black and white photography and the various styles of camerawork that he developed for his classic Citizen Kane in 1941. Welles had had a chequered career in directing in the fourteen years between the two films. He had made The Magnificent Ambersons which was cut by the studios. He made Journey into Fear as well as Lady From Shanghai with his then wife Rita Hayworth. He also ventured into two Shakespeare ventures, Macbeth and Othello.

After this Welles had an even more chequered career, acting a great deal to finance projects but not finishing some of them. Some that he achieved included Chimes at Midnight (based on the Henry IV and Henry V and Merry Wives of Windsor plays by Shakespeare), The Immortal Story and F for Fake.

Welles himself plays a mysterious millionaire who has a shady background. He hires an ex-prisoner to investigate his previous life, wanting to cover up this life. Robert Arden plays the investigator. The supporting cast is made up of a number of actors who had appeared in Welles’ earlier films.

Complex in its characterisations, elliptical sometimes in its plot developments, more than a touch arty with Orson Welles’ techniques for filming, it is nevertheless an intriguing Welles production. His next film was to be A Touch of Evil – and both of these films were cut and were restored after his death.

1. The quality of this film as an Orson Welles, film? The importance of black and white photography, Welles’ particular style? Welles’ themes of tycoons, power, corruption within the framework of Welles’ films and career?

2. The emphasis on techniques, the quality of the black and white photography, angles and tilt shots etc.? Overlapping dialogue and its creation of atmosphere and communication? Music?
3. The dramatic importance of the structure and audience interest and involvement: Van Stratten and his warning Zouk as framework; the flashback to the waterfront, the revelation about Arkadin and Raina, the series of flashbacks to Arkadin’s past as well as the interviews with the people from his past? The building up of a visual confidential report? The culmination in Van Stratten’s realization of what was to happen to him and Arkadin’s death? An angled portrait of a man, a type, a man in his times?

4. The blending of the acting styles? Orson Welles, overall presence as Mr Arkadin? The style of the principal characters, The style of the principal characters, they were considered amateurish. Is this true? The important actors and their style within the flashbacks and the interviews? Do all the styles cohere well?

5. The importance of the international locations? The atmosphere of Europe, the docks at Naples, the Riviera, Spain? The background of America in the 20s? Latin America and Mexico? The international at homeness of the characters? Their place in the world?

6. How was Arkadin the centre of the film? A brooding presence, enigmatic character? A man of power and deception? The way that he was photographed, Orson Welles and his style and manner of speaking? Van Stratten as trying to understand him and pursue the mysterious name and identity? The importance of Van Stratten’s quest for fortune and Arkadin being the ironic holder of the fortune? Arkadin’s relationship with Raina and his love for her being his downfall? His background, past, being part of the gang, his relationship with the members of the gang, with Sophie, love, hate, betrayal? His wealth, his despotic use of power, sexuality? The disillusionment with Van Stratten's report and Raina’s discovering the truth? The melodrama of his death? How much insight and understanding of a man who wanted to play God?

7. Van Stratten as hero? American, character in himself, petty smuggler, greed? Dangers and violence at Naples, the mystery of the name, the motivation of his pursuit? Millie and her enigmatic relationship with him? His conducting of the interviews? The use that Arkadin made of him? His reaction to violence and the deaths, to his being pursued and having to hide?

8. Millie as a type, relationship with Van Stratten, her place in the puzzle, the motives for her death?

9. How-well drawn was the picture of the past? Via strong character sketches? The quality of each of the character sketches in themselves, their relationship with Arkadin past and present: Sophie and the white slave gang, the clash with Arkadin, her retirement to Mexico and her marriage, her lack of bitterness, the death of herself and her husband? Burgomil? Zouk? The professor, the marquis, the countess? The members of the gang?

10. How well did the film contrast the world of the rich and powerful and the sleazy gangster world?

11. The popular thriller, atmosphere of danger, death? Power and corruption?

12. The life and death of Mr Arkadin and 'What doth it profit a man to gain the whole world and lose his soul?'