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Critics Consensus: A satisfying must-watch for diehard cineastes, The Other Side of the Wind offers the opportunity to witness a long-lost chapter in a brilliant filmmaker's career.
Critic Consensus: A satisfying must-watch for diehard cineastes, The Other Side of the Wind offers the opportunity to witness a long-lost chapter in a brilliant filmmaker's career.
All Critics (87) | Top Critics (21) | Fresh (72) | Rotten (15)
Overall, Wind magnificently displays Welles' filmmaking brilliance while baring the aging auteur's frailties and frustrations.
Welles and his collaborators have made an almost weightless film of ellipses and shards; as the camera ricochets at surprising angles and scenes slide into one another, the project recalls the energy and dynamism of Jean-Luc Godard.
Having seen it, my overwhelming feeling is not exaltation but sadness. I look at this maddening pastiche and think of all the great movies he might have made.
It's not a rose-dud.
A cracked, corrosive, savagely compromised vision it unmistakably is. A mock documentary avant la lettre, Other Side of the Wind has a jagged syntax that would have felt startling in the '70s and, decades later, has lost little of its restless vitality.
Even if it may not exactly be the movie its creator would have made, the artifact is still a thorny, inventive, brain-melting tour de force that confirms Welles's skill at finding beauty and meaning within chaos.
A salvaged, chaotic cinematic curiosity - for avid film buffs.
Such a noisy style leaves a garbled message, but the feeling that finally resonates is tragedy.
Sure to be wildly overpraised and cursorily dismissed, The Other Side of the Wind is often awful and frequently great, occasionally at the same time. The main thing is that it gives Welles the last word.
Where Hannaford crashes and burns, Welles succeeds with brilliance, adding to the sense of tragedy surrounding the film. It should have come out in its time.
Welles' chaotic final film has lots of drinking, some sex.
That this hapless, incoherent mess brings down the curtain on a fabled filmmaker's career when it was expected to cap it is lamentable, but not entirely unpredictable.
The concept is deceptively pedestrian but it allows Welles to play around with a lot of different ideas. Most interesting is his examination of how "Auteur Machismo" is ultimately just bullshit, perfectly articulated by the pretentious and shallow film within the film.
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