The images of the seemingly endless reflections of Rita Hayworth and Everett Sloane are so amazingly photographed, and great symbolism of how they are trapped in their own mess.
As far as statement that Welles is a genius became automatic, after that movie I had realised how to this day his work stays pretty unique compared to the other native filmmakers during his time. He and his team really put an affort and were more demanding to create something I'd say just for the sake of your own greatness. I reckon this is one of the factors that seperates the lucky guys who found themselves in a world when far more movies could became classics due to the fact that cinema was relatively young from the ones that knew exactly what they are on about. Not to offend some artists and defend Welles which seems pointless but just to clarify that shaped statement that stays strong as it was during his time.
pretty well said. another of those popular directros is Nick Ray, people dont really "get" the symbonlisms in his movies, most notably the box office hit Rebel Without a Cause. i mean the beggining of Bigger than Life hits you with its use of colours (red) and whats about to happen... i really dont care people overlook the genius factor... they just follow the Critics opinions... and about Orson, Le Process is amazing, Touch of Evil is a very stylized mess and etc, Touch of Evil really doesnt make any sense, but are those scenes in the isoleted Hotel great...
Scene stolen by Everett Sloane, as was his habit. Is there a better moment in 'Citizen Kane' than Bernstein's recollection of the girl he saw for one moment on the Jersey ferry and never forgot? 'Of course killing you is killing myself. But then I'm pretty tired of both of us.' Seventeen years later, facing blindness, Sloane killed himself.
Welles said he wanted to hire Bernard Herrmann to do the score, but Columbia nixed that. This film is extraordinary, at least in fragments. Had BH scored it, the result would have been unparalleled, excepting other scores by BH.
The most misanthropic film he ever made, seething with human snakes and sharks. Columbia didn't know what to do with it besides add music, a song for Rita, and cut a film which was incomprehensible to them from 155 minutes down to 86. The public didn't like it either, it lost money. Welles' was ready for The Scottish Play...
He was using an avant-garde score by George Antheil and some Mexican music (according to his memos). Harry Cohn had it replaced with the kitsch score we have now. Welles no longer had his old musical collaborator Bernard Herrmann, the composer for Kane & Ambersons.
@@randywhite3947 For one, 0:24 to 0:27 - sound synch and what word did she actually say? They've overdubbed the original word, clearly. And his accent...
@@randywhite3947 From IMDB: When the shootout in the hall of mirrors ends; there is a close-up of Michael's right hand with a gunshot wound as he turns on the light and then after exiting he is holding the the right arm on which he has the wound. But on the following cut as he leaves the amusement park; he is walking as if the wound is on the left arm. XXX Elsa enters the hall of mirrors wearing a pair of peep-toe heels with a distinctive crisscross ankle strap, but a later shot in the same scene shows her wearing plain pumps with no ankle strap. Seconds later, she's wearing the original ankle-strap heels again. XXX When Mrs. Bannister is lunging for the exit in the mirrored room, the "broken glass" in the foreground stays in frame as the camera pans to the right, spoiling the illusion of a cracked window. XXX
@HC-cb4yp Totally bizarre remarks... Dude if you're paying that much attention to that stuff, if it's even true??! Then you're missing the whole meaning of the drama of the movie!... get a grip!
Yes, many of her fans were shocked to see her with short blonde hair. They were even more shocked to see her play such a cold, deceitful character who was so different from her previous screen image.
@@tombennett3827 That's why Welles wanted her to act this part in short blode hair; to help disassociate her in the public's mind from her previous roles and image.
The genius of Orson Welles. The mirrors heighten the drama and confusion to the max. Extraordinary.
it also is symbolic of the characters being multi faceted and not knowing each other's real image.
This scene was recreated in the Bruce Lee film Enter The Dragon (1973)...
"i'm pretty tired of both of us." DAMN
The images of the seemingly endless reflections of Rita Hayworth and Everett Sloane are so amazingly photographed, and great symbolism of how they are trapped in their own mess.
Maybe I don’t get where you’re coming at, but his reflection is shown the first 11 seconds
All the actors in this scene give such an amazing performance
I love this scene. It's one of the best climaxes of a film noir movie ever made.
The best Noir conclusion EVER
@@talesfromtinpanalley-thedo6198 sunset Boulevard
I totally agree.
Hayworth was a damn good actress -
The way Sloane says "lov-ah!" is creepy as hell. I love it.
Rita... what a beauty
The best Noir conclusion EVER
She's gorgeous! 😍😍😍😍😍😍
Was just watching her with Fred Astaire in a movie made in 1941. She was a real stunner then. She looks kinda dikish here.
I love the way she so-forcefully screams “I don’t want to die!”
The multiple faces of Elsa are perfectly portrayed in this scene
What an amazing scene 🥹🫶
The scene who inspired the final battle of Enter the Dragon:Bruce Lee vs Han in the Mirrors Room.
Brilliant scene, dialogue, filming!!!!
One of the best Hitchcock movies that he never made.
Not many people know this, This scene was recreated in the Bruce Lee film Enter The Dragon (1973)...
I once chased a CAT into a fun house. It was very confusing, and the cat--fortunately unarmed--got away.
As far as statement that Welles is a genius became automatic, after that movie I had realised how to this day his work stays pretty unique compared to the other native filmmakers during his time. He and his team really put an affort and were more demanding to create something I'd say just for the sake of your own greatness. I reckon this is one of the factors that seperates the lucky guys who found themselves in a world when far more movies could became classics due to the fact that cinema was relatively young from the ones that knew exactly what they are on about. Not to offend some artists and defend Welles which seems pointless but just to clarify that shaped statement that stays strong as it was during his time.
pretty well said. another of those popular directros is Nick Ray, people dont really "get" the symbonlisms in his movies, most notably the box office hit Rebel Without a Cause. i mean the beggining of Bigger than Life hits you with its use of colours (red) and whats about to happen... i really dont care people overlook the genius factor... they just follow the Critics opinions... and about Orson, Le Process is amazing, Touch of Evil is a very stylized mess and etc, Touch of Evil really doesnt make any sense, but are those scenes in the isoleted Hotel great...
Wow. Awesome.
I love the re-vision of Charlie Chaplin slapstick mirror maze scene in The Cricus. Physical comedy becomes expressionist nightmare.
Scene stolen by Everett Sloane, as was his habit. Is there a better moment in 'Citizen Kane' than Bernstein's recollection of the girl he saw for one moment on the Jersey ferry and never forgot?
'Of course killing you is killing myself. But then I'm pretty tired of both of us.'
Seventeen years later, facing blindness, Sloane killed himself.
I'm not a huge fan of the movie- but this sequence is genius!
Why this film is a Masterpiece?
Welles said he wanted to hire Bernard Herrmann to do the score, but Columbia nixed that. This film is extraordinary, at least in fragments. Had BH scored it, the result would have been unparalleled, excepting other scores by BH.
The only complaint I have about this film is the soundtrack. But I can't blame Orson Welles, it was the studio's fault.
The most misanthropic film he ever made, seething with human snakes and sharks. Columbia didn't know what to do with it besides add music, a song for Rita, and cut a film which was incomprehensible to them from 155 minutes down to 86. The public didn't like it either, it lost money. Welles' was ready for The Scottish Play...
If my memory serves me correctly, Welles didn't want any music in the film at all. Is that right?
He was using an avant-garde score by George Antheil and some Mexican music (according to his memos). Harry Cohn had it replaced with the kitsch score we have now. Welles no longer had his old musical collaborator Bernard Herrmann, the composer for Kane & Ambersons.
That would have been superb to have Bernard Herrmann. One of the best thing about Hitchcock's films was the soundtrack.
>155 to 86
Wait so are all of Welles' films just mutilated by the studio or what? I read similar things about Touch of Evil.
Lotsa broken glass to clean up after filming this scene.
exacholy what a dawhindusk
Genius.
Too bad they cut most of his remarkable work out of this movie he was ahead of his time.
Great scene, great movie, but 480p is not HD.
fixed the error, thanks
You're welcome
Apparently Hilary Duff's play with fire was inspired by this, brilliant!
not hd
sleep someone stated
Hilary Duff's Play With Fire video was inspired by this scene.
That shit was cold. I would have done the same, though.
There ARE flaws in this scene...
And what are they exactly? This is a perfect scene
@@randywhite3947 For one, 0:24 to 0:27 - sound synch and what word did she actually say? They've overdubbed the original word, clearly. And his accent...
@@randywhite3947 From IMDB: When the shootout in the hall of mirrors ends; there is a close-up of Michael's right hand with a gunshot wound as he turns on the light and then after exiting he is holding the the right arm on which he has the wound. But on the following cut as he leaves the amusement park; he is walking as if the wound is on the left arm. XXX Elsa enters the hall of mirrors wearing a pair of peep-toe heels with a distinctive crisscross ankle strap, but a later shot in the same scene shows her wearing plain pumps with no ankle strap. Seconds later, she's wearing the original ankle-strap heels again. XXX When Mrs. Bannister is lunging for the exit in the mirrored room, the "broken glass" in the foreground stays in frame as the camera pans to the right, spoiling the illusion of a cracked window. XXX
@HC-cb4yp Totally bizarre remarks... Dude if you're paying that much attention to that stuff, if it's even true??! Then you're missing the whole meaning of the drama of the movie!... get a grip!
Honestly, I wonder if John Huston slapped him for this.
Rita - blond? No no no!
Yes, many of her fans were shocked to see her with short blonde hair. They were even more shocked to see her play such a cold, deceitful character who was so different from her previous screen image.
@@tombennett3827 That's why Welles wanted her to act this part in short blode hair; to help disassociate her in the public's mind from her previous roles and image.