Jon Tuska’s Encounters With Filmmakers is pretty interesting, especially the section on Welles. In the space of 48 pages he goes from defending Welles to attacking him, in a way that suggests some personal score is being settled, though what it was isn’t recorded. But it is somewhat illuminating with regards to one of the great mysteries of Welles scholarship: what IS IT with Beatrice Welles?
Welles’ daughter, who appears in his CHIMES AT MIDNIGHT, has impacted on Welles’, shall we say, postmortem career in two ways. Firstly, as inheritor of his version of OTHELLO, she has made the film available in a “restored” form that is not to everyone’s liking. This version has had the music transcribed and re-recorded (Welles’ original soundtrack had been damaged when release prints were made), the voices electronically adjusted to be more in synch with the lip movements (arguably an improvement, but in no sense a restoration, since the film, dubbed from first scene to last, had always been awash with lip-flap) and printed credits inexplicably favoured over Welles’ spoken ones (the restorers apparently were unaware of the existence of the narrated opening, although it appears in Leslie Megahey’s BBC profile The Orson Welles Story, which should be essential viewing for anybody engaged in Welles scholarship — check it out on YouTube).
Secondly, Beatrice Welles has sued or threatened to sue most of the other parties engaged in restoring her father’s work. Most famously, she has delayed work on THE OTHER SIDE OF THE WIND, a late Welles film apparently all ready to be cut together into screenable form, provided somebody is willing to pay to extract the footage from the bank vault it is stored in (Welles’ chief backer was the Shah of Iran’s brother-in-law, leading to financial difficulties when the Ayatollah took command of Iran) and pay for the post-production work. Whenever a backer comes forward and shows interest, Beatrice scares them off.
But Beatrice also threatened those behind the restored TOUCH OF EVIL (which isn’t 100% perfect but is far more respectful than her own restoration of OTHELLO), causing the film to be withdrawn from the 50th Cannes Film Festival. She had absolutely no legal claim to ownership or artistic rights over this film, but Cannes being an auteuristkind of show, they pulled the film rather than deal with any controversy from the daughter of a great Palm D’Or-winning director.
Tuska ~ “He left $10, 000 each to his three daughters from his three marriages while dividing the bulk of his estate between [Paola Mori] his third wife and his mistress of many years, Oja Kodar, with an additional provision that should Paola die, then all that remained of his estate should go to Oja.”
And ~ “Other than the cash bequests to his three daughters, Oja received the Los Angeles home and all its contents, Paola the home in Las Vegas, its contents, and whatever money would be left. Paola contested the will, in large measure I believe because of the provision that upon her death everything would revert to Oja rather than to Beatrice. A hearing was scheduled for 14 August 1986. Two days before, on 12 August 1986, Paola was killed in an automobile accident a short distance from her home in Las Vegas. Oja Kodar got everything by default.”
I think it’s understandable that Beatrice Welles, having simultaneously lost a mother and been cheated of an inheritance by fate, might have conflicted feelings towards her father. He not only divorced left her mother and was probably absent for much of her childhood, he left her a rather paltry sum and placed restrictions on her mother’s inheritance (I’m amazed that’s even legal — if you leave somebody something, isn’t it then THEIR property?) Welles was of course quite entitled to leave the bulk to Oja Kodar, who had been a loyal companion during his autumn years, in a relationship which lasted longer than any of his marriages.
Beatrice, with a mixture of love, resentment, a proprietorial feeling for her father’s work, and anger at the criticism of the restored OTHELLO, much of which came from people involved in THE OTHER SIDE OF THE WIND, is now a potential obstacle to any Welles restoration ventures — I’m amazed she allowed Kodar and Jesus Franco’s version of DON QUIXOTE (the one truly indefensible Welles “restoration”) to be screened. Perhaps the thing was so cheaply assembled that the makers were indifferent to legal bluffs.
(Film historian and filmmaker Kevin Brownlow was approached by Kodar during the QUIXOTE process. She had been driving around Europe with Welles’s rushes in a van — although as much as a third of what Welles had shot was in the hands of one of his cinematographers, who was refusing to deal with Kodar. [The Welles legacy is riven with feuds, it seems!] Brownlow looked at the material and could see no way to make sense of it. Welles had claimed the film was virtually complete, but the material was haphazardly logged and boarded, and without Welles to explain his intent, inexplicable. Brownlow regretfully passed, Kodar kept looking until she found former Welles associate Jesus Franco, who made an offer too low to refuse.)
I suggest anyone trying to restore a Welles film should visit Beatrice first and get her on-side, if possible. However cantankerous and obstructive her behaviour thus far, her feelings are at least understandable. It’s a great shame that the personal hurt she has experienced is now depriving others of the pleasure of seeing her father’s films as they should be seen.