THE OTHER SIDE OF THE WIND;
A LOST MOTHER, A MAVERICK, ROUGH MAGIC AND A MIRROR: A PSYCHOANALYTIC PERSPECTIVE ON THE CINEMA OF ORSON WELLES
By Jack Schwartz
If American cinema will be remembered for one film only, Citizen Kane would be that film. The significance of Kane has permeated the perception of all Welles subsequent films, and for that matter, has become the benchmark for all films made before and since. Using Welles’s posthumously restored final film, The Other Side of the Wind (2018), I will link the thematic undercurrents that tie this last film to his earlier cinematic works. Looking through a psychoanalytic frame I will expose the dynamic structure of Welles’s early childhood experiences, and how that influenced his art and creative process and in the same token may have led to his many professional struggles.