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Orson Welles: A Biography
Based on two years of interviews and research, this biography portrays the flamboyant American genius onstage, behind the camera, in love, and under the gun
562 pages, Hardcover
First published April 1, 1985
30 people are currently reading
455 people want to read
About the author
Barbara Leaming
28 books125 followersBarbara Leaming is the author of “Kick Kennedy: The Charmed Life and Tragic Death of the Favorite Kennedy Daughter” (Thomas Dunne Books, April 12, 2016). She has written three New York Times bestsellers, including her recent book “Jacqueline Bouvier Kennedy Onassis”. Leaming’s book “Churchill Defiant” received The Emery Reves Award from the International Churchill Centre. Her groundbreaking biography of America's 35th President, “Jack Kennedy: The Education of a Statesman” was the first to detail the lifelong influence of British history and culture and especially of Winston Churchill on JFK. Her articles have appeared in the New York Times Magazine, Vanity Fair, the Times of London and other periodicals. She lives in Connecticut.
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Displaying 1 - 30 of 38 reviews
October 22, 2014
I picked this bio to read because I'm a fan of Welles's acting and directing. I remember him also as a TV talk-show personality in the '60s. Sometimes he performed magic on those shows, which was something he started doing as a child.
The Wunderkind truly showed talent early on, directing a version of Richard III, at his prep school when he was 15 years old. His bohemian mother and her lover (they at one point formed a ménage a trois with Orson's biological father) encouraged him in his pursuits, telling him he was a genius. Dadda, an orthopedist, was his mom's lover and often Orson's patron. He gave money to the young man frequently.
After graduating from Todd Prep, in Illinois, Wells traveled to Ireland and Scotland. At first it was only a walking and painting tour, but when the ambitious young man hit Dublin, he got on at the Gate Theater and became a professional actor. He returned to the States, landing in New York and began directing Macbeth in Harlem, at the age of 20. He acted on CBS Radio, and gave his famous 1938 Halloween eve broadcast of H.G. Wells' The War of the Worlds, about Mars invading New Jersey. This caused much hysteria and both CBS and Orson were sued thousands of dollars. Judges dropped most of them. Welles decided to invade Hollywood in hopes of directing and acting. One studio wanted him to make Heart of Darkness, and Orson asked if Lucille Ball could star in it. The movie was dropped. Then Welles directed and acted in the highly acclaimed Citizen Kane, about a newspaper tycoon. He directed The Magnificent Ambersons, which some critics who saw the uncut version thought was even better than Kane. But it was long and complex, and the studio cut key parts of it.
Leaming describes the disaster of It's All True that Welles spent time filming in Latin America. It never got finished due to the director's womanizing and drinking. She describes his marriages and divorces, most notably to Rita Heyworth. She cites his acting in The Stranger, The Third Man, and his direction of Lady from Shanghai and the eccentric noir Touch of Evil.
Ms. Leaming's research and writing on Welles's massive early talent impressed me, as if she leaves nothing out. For the most part, she portrays him as an energetic, charming man, who on occasion could turn belligerent as when he spat on a producer in New York. She does not show this side of Welles much, nor does she tell you in depth why so many of the LA movie crowd disliked him so much. Later on in his career he gained weight, moved to Europe and tried to make experimental films. Leaming does not go into most of this period. I still consider this a great biography. A man of Welles stature, lust for the arts and talent probably couldn't be covered in one book.
The Wunderkind truly showed talent early on, directing a version of Richard III, at his prep school when he was 15 years old. His bohemian mother and her lover (they at one point formed a ménage a trois with Orson's biological father) encouraged him in his pursuits, telling him he was a genius. Dadda, an orthopedist, was his mom's lover and often Orson's patron. He gave money to the young man frequently.
After graduating from Todd Prep, in Illinois, Wells traveled to Ireland and Scotland. At first it was only a walking and painting tour, but when the ambitious young man hit Dublin, he got on at the Gate Theater and became a professional actor. He returned to the States, landing in New York and began directing Macbeth in Harlem, at the age of 20. He acted on CBS Radio, and gave his famous 1938 Halloween eve broadcast of H.G. Wells' The War of the Worlds, about Mars invading New Jersey. This caused much hysteria and both CBS and Orson were sued thousands of dollars. Judges dropped most of them. Welles decided to invade Hollywood in hopes of directing and acting. One studio wanted him to make Heart of Darkness, and Orson asked if Lucille Ball could star in it. The movie was dropped. Then Welles directed and acted in the highly acclaimed Citizen Kane, about a newspaper tycoon. He directed The Magnificent Ambersons, which some critics who saw the uncut version thought was even better than Kane. But it was long and complex, and the studio cut key parts of it.
Leaming describes the disaster of It's All True that Welles spent time filming in Latin America. It never got finished due to the director's womanizing and drinking. She describes his marriages and divorces, most notably to Rita Heyworth. She cites his acting in The Stranger, The Third Man, and his direction of Lady from Shanghai and the eccentric noir Touch of Evil.
Ms. Leaming's research and writing on Welles's massive early talent impressed me, as if she leaves nothing out. For the most part, she portrays him as an energetic, charming man, who on occasion could turn belligerent as when he spat on a producer in New York. She does not show this side of Welles much, nor does she tell you in depth why so many of the LA movie crowd disliked him so much. Later on in his career he gained weight, moved to Europe and tried to make experimental films. Leaming does not go into most of this period. I still consider this a great biography. A man of Welles stature, lust for the arts and talent probably couldn't be covered in one book.
October 9, 2014
Just an amazing biography from start to finish. Learned so much about this enfant-terrible/precocious child/genius, but most importantly, realized how Hollywood, then and now, is not quite equipped to deal with such genius! A sad state of affairs, but he was, regardless how you view him, a man who did things his way, with incredible integrity. TOTALLY RESPECT!! Wish there were more like him, but he broke the mold!
October 4, 2014
I thought I knew a fair amount of superficial things about Orson Welles (the Harlem production of Macbeth, infamous War of the Worlds and Citizen Kane). However, his precocious childhood, in which he really was more like a miniature adult, and entire subsequent life were much stranger than I had ever imagined. His patrician, yet at the same time Bohemian, upbringing account for his love for high-brow Shakeseare as well as the shameless hucksterism of vaudeville and magic acts.
Hence, this biography -- finished shortly before his death -- contains many ribald personal anecdotes and observations on how money is no object on a mess like Casino Royale when he can't raise one tenth as much for his movies. However, the author interviewed many friends and sometimes enemies ensuring that this does not read like most "authorized" biographies. Welles certainly comes off as a temperamental Prima Donna at times, but they sure don't make people like him anymore. Despite all the bad luck that severely damaged his reputation in Hollywood -- even Citizen Kane did not make any money -- he kept right on going, acting in some very marginal as well as exceptional films to keep financing his own movies. It was abundantly clear to him that to make money he had to cater to idiots, but he refused to do that.
It definitely makes me want to watch Citizen Kane for something like the 10th time (and to hunt down some of the more obscure films that were released in Europe only).
Hence, this biography -- finished shortly before his death -- contains many ribald personal anecdotes and observations on how money is no object on a mess like Casino Royale when he can't raise one tenth as much for his movies. However, the author interviewed many friends and sometimes enemies ensuring that this does not read like most "authorized" biographies. Welles certainly comes off as a temperamental Prima Donna at times, but they sure don't make people like him anymore. Despite all the bad luck that severely damaged his reputation in Hollywood -- even Citizen Kane did not make any money -- he kept right on going, acting in some very marginal as well as exceptional films to keep financing his own movies. It was abundantly clear to him that to make money he had to cater to idiots, but he refused to do that.
It definitely makes me want to watch Citizen Kane for something like the 10th time (and to hunt down some of the more obscure films that were released in Europe only).
September 25, 2014
Barbara Leaming's biography of Orson Welles is now at the top of my biography list. Not only did Welles contribute vast amounts of time and personal information, but his advice to put the biographer in the story was spot on. The short chapters of Ms. Leaming's personal anecdotes of dealing with her subject's often unpredictable moods and actions really added depth to the overall persona of Orson Welles. Along with the reminisces and tales from many of Welles' friends, family and foes, I can't imagine a more complete picture.
My favorite parts of Orson Welles' life story as presented here are generally when he is behaving badly. His sojourn in Rio at the request of the US government stands out. However, there is also much to be learned here about the inner workings of Hollywood and Broadway, where the search for funding can be as much effort as actually producing a finished product. Through it all, the reader's perception of Orson Welles will likely change multiple times. From precocious brat to workaholic genius to bad boy to sympathetic outcast, it is a funhouse hall of mirrors that reflects more than just the larger than life man we think we know from Citizen Kane and War of the Worlds.
My favorite parts of Orson Welles' life story as presented here are generally when he is behaving badly. His sojourn in Rio at the request of the US government stands out. However, there is also much to be learned here about the inner workings of Hollywood and Broadway, where the search for funding can be as much effort as actually producing a finished product. Through it all, the reader's perception of Orson Welles will likely change multiple times. From precocious brat to workaholic genius to bad boy to sympathetic outcast, it is a funhouse hall of mirrors that reflects more than just the larger than life man we think we know from Citizen Kane and War of the Worlds.
April 12, 2015
This book is a fairly thorough review of Orson Welles' life, and in particular his background. But there was so much emphasis on his childhood and early years, it makes the rest of his life zip by. One thing I particularly didn't like about this biography is that the author very rarely cites the date of anything, so as a reader you have no idea if the Orson Welles project you're reading about was in the 1940s or 50s, or for that matter, the 60s. It was written while Welles was still alive, but (unknown to all) shortly before his death. But a newer biography could shed more light on his relationship (or lack thereof) with his children, and rely less heavily on his "mentor" Skippy and a former executive assistant, who seems to be the source for almost every anecdote in at least 2 chapters.
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July 20, 2023It's very inspiring to read about Welles' beginning and early efforts. He's an inspiration to all independent minded theater artists. He may have been megalomaniacal but he led the way. Also intriguing to read about the period when Broadway was still the focus of theatrical efforts. I never would have had the audacity to write, direct and act in some of my projects if not for O.W. - and the bio-pics just don't capture him - only the bios do. some more info on my own efforts:
I am a theater artist who had the good fortune to work with Elia Kazan, Norman Mailer and Arthur Miller. Three of my award winning indpendent film projects are presently touring the film festival arena. The most recent is Darkness After Night: Ukraine about the inexcusable invasion of Ukraine. It is not a docudrama but lives on a mythical level like George Orwell's '1984' where a (Putin-like) dictator is overthrown in a coup and events build to a final confrontation with a childhood friend – now a Russian commander - when the dictator commits suicide by igniting a suitcase nuclear device (much like those just shipped into Belarus from Russia.). When that Russian commander witnesses a Ukrainian children's hospital being bombed he decides to go over to the Ukrainian side but is re-captured and sentenced to death. In his last moments he goes over the entire saga of his life which includes the loss of the love of his life succumbing to her ambitions and going off with the dictator for the power and wealth he has. Darkness After Night: Ukraine was done on stage in NY and was given the extraordinary gift of a 30 min Voice of America program which played several scenes and interviewed myself and some of the actors. It received rave reviews in the press (NY Theater Wire by critic emeritus Eric Uhlfelder et al). We have been very honored to receive 'Best Original Screenplay - Feature (adapted from another medium) this past June in The Marina Del Rey Film Festival. On a final note: with recent developments in Russia's war on Ukraine the story is more relevant and alive and tragically, less imaginary with each passing day. A story that must be seen.
My other film 'The Assassination of J.Kaisaar and the Rise of Augustus :The Sopranos Meet Mad Max. Filmed in 2019 presentation was delayed because of Covid. It just won 'Best Science Fiction Feature' in The Golden State Film Festival. To receive that award in a category as popular as Science Fiction was especially sweet. It's an adaptation of Julius Caesar and Antony and Cleopatra set in a (vaguely) U.S. post-apocalyptic era after WWIII. Audiences - in addition to being carried away by one of the greatest political struggles in the history of the world as well as one of the most famous tragic romances - are also caught up in comparing the similarities and differences to our own time.
My final film this year was 'Sometime Child' about a self-made attorney who is mugged by two at-risk youths (one white and one Black) who manages to turn their lives around so that they end up by becoming attorneys themselves. No ode to wishful thinking, it is based on a true story. And I had the great good fortune to have Ken Kelsch as DP who counts among his credits : Bad Lieutenant w/ Harvey Keitel, The Addiction, The Funeral, King of New York w/ Christopher Walken, Laurence Fishburne et al.
I filmed all three on a micro-budget basis and on stage in the tradition of the Golden Age of TV – with mostly 'close ups' and with powerful acting in front of a live audience which added a dramatic edge.
Each of these projects is worthy of higher budgeted productions. They are ready to go.
Link: Darkness After Night: Ukraine
https://youtu.be/f0R0MIywcXc
Link: The Assassination of J.Kaisaar and the Rise of Augustus (The Sopranos Meet Mad Max)
https://youtu.be/tKk1tqyrDeU
Link: Sometime Child
https://youtu.be/1uqpIlAHQw0
Best, Stephan Morrow
Artistic Director, The Great American Play Series
stephanmorrow@juno.com
P.S. A bio:
Stephan Morrow is a veteran of the Off Off Bway and independent film arena and was mentored into the Playwright Director's Unit of The Actor's Studio by Elia Kazan. For 15 years he has been a resident theater artist at Theater for the New City (NYC) where he has just finished writing, directing and acting in 'Darkness After Night: Ukraine which he filmed the stage production of and which has won Best Original Screenplay - Feature (adapted from a different medium) in The Marina Del Rey Film Festival in Los Angeles. Also this year he directed and acted the lead in 'Sometime Child' by Richard Bruce of which he shot a feature film in 3 days (Ken Kelsch, D.P.). In 2018 he was the director of Anne Lucas' play 'Recovery' which was submitted for The Pulitzer Prize by Crystal Field, Exec Dir. of Theater for the New City. In 2010 he filmed John Steppling's dark but brilliant 'Dogmouth' which he directed and played the eponymous lead which won seven awards & was The Official Selection of ten festivals. In 2019 he wrote and directed 'The Assassination of J. Kaisaar and the Rise of Augustus – the Sopranos meet Mad Max – a futuristic version of Antony & Cleopatra but set in a dystopian future & with dialogue that Tony Soprano would feel at home in & which he also filmed. It won Best Sci Fi Feature in The Golden State Film Festival as well as awards in The American Filmatic Arts Awards (Feb 22), NY Movie Awards, The Milan Gold Award and The Florence Film Awards (Official Selection). Stephan was honored to be dubbed by Mario Fratti (author of 'Nine' ) as “my Director” directing and acting in seven productions. He had a co-starring role in Norman Mailer's cult favorite 'Tough Guys Don't Dance'. Backed by Arthur Miller for 4 years to direct 'Incident at Vichy' on Broadway – a mission sadly ending with Mr. Millers death. As Artistic Director of The Great American Play Series – a series of major staged readings of neglected American classics - casts have included F. Murray Abraham, Austin Pendleton, Rebecca De Mornay, Paul Mazursky, Judith Light, Barry Primus, Mark Rydell, Richard Dreyfuss, Peter Weller, Fisher Stevens, Sally Kirkland et al.
A published writer he has has had articles in theater journals and written 'Rock Tavern' a novel about a young artist coming into his own by following in the footsteps of Jackson Pollock which was recommended for publication by Norman Mailer.
I am a theater artist who had the good fortune to work with Elia Kazan, Norman Mailer and Arthur Miller. Three of my award winning indpendent film projects are presently touring the film festival arena. The most recent is Darkness After Night: Ukraine about the inexcusable invasion of Ukraine. It is not a docudrama but lives on a mythical level like George Orwell's '1984' where a (Putin-like) dictator is overthrown in a coup and events build to a final confrontation with a childhood friend – now a Russian commander - when the dictator commits suicide by igniting a suitcase nuclear device (much like those just shipped into Belarus from Russia.). When that Russian commander witnesses a Ukrainian children's hospital being bombed he decides to go over to the Ukrainian side but is re-captured and sentenced to death. In his last moments he goes over the entire saga of his life which includes the loss of the love of his life succumbing to her ambitions and going off with the dictator for the power and wealth he has. Darkness After Night: Ukraine was done on stage in NY and was given the extraordinary gift of a 30 min Voice of America program which played several scenes and interviewed myself and some of the actors. It received rave reviews in the press (NY Theater Wire by critic emeritus Eric Uhlfelder et al). We have been very honored to receive 'Best Original Screenplay - Feature (adapted from another medium) this past June in The Marina Del Rey Film Festival. On a final note: with recent developments in Russia's war on Ukraine the story is more relevant and alive and tragically, less imaginary with each passing day. A story that must be seen.
My other film 'The Assassination of J.Kaisaar and the Rise of Augustus :The Sopranos Meet Mad Max. Filmed in 2019 presentation was delayed because of Covid. It just won 'Best Science Fiction Feature' in The Golden State Film Festival. To receive that award in a category as popular as Science Fiction was especially sweet. It's an adaptation of Julius Caesar and Antony and Cleopatra set in a (vaguely) U.S. post-apocalyptic era after WWIII. Audiences - in addition to being carried away by one of the greatest political struggles in the history of the world as well as one of the most famous tragic romances - are also caught up in comparing the similarities and differences to our own time.
My final film this year was 'Sometime Child' about a self-made attorney who is mugged by two at-risk youths (one white and one Black) who manages to turn their lives around so that they end up by becoming attorneys themselves. No ode to wishful thinking, it is based on a true story. And I had the great good fortune to have Ken Kelsch as DP who counts among his credits : Bad Lieutenant w/ Harvey Keitel, The Addiction, The Funeral, King of New York w/ Christopher Walken, Laurence Fishburne et al.
I filmed all three on a micro-budget basis and on stage in the tradition of the Golden Age of TV – with mostly 'close ups' and with powerful acting in front of a live audience which added a dramatic edge.
Each of these projects is worthy of higher budgeted productions. They are ready to go.
Link: Darkness After Night: Ukraine
https://youtu.be/f0R0MIywcXc
Link: The Assassination of J.Kaisaar and the Rise of Augustus (The Sopranos Meet Mad Max)
https://youtu.be/tKk1tqyrDeU
Link: Sometime Child
https://youtu.be/1uqpIlAHQw0
Best, Stephan Morrow
Artistic Director, The Great American Play Series
stephanmorrow@juno.com
P.S. A bio:
Stephan Morrow is a veteran of the Off Off Bway and independent film arena and was mentored into the Playwright Director's Unit of The Actor's Studio by Elia Kazan. For 15 years he has been a resident theater artist at Theater for the New City (NYC) where he has just finished writing, directing and acting in 'Darkness After Night: Ukraine which he filmed the stage production of and which has won Best Original Screenplay - Feature (adapted from a different medium) in The Marina Del Rey Film Festival in Los Angeles. Also this year he directed and acted the lead in 'Sometime Child' by Richard Bruce of which he shot a feature film in 3 days (Ken Kelsch, D.P.). In 2018 he was the director of Anne Lucas' play 'Recovery' which was submitted for The Pulitzer Prize by Crystal Field, Exec Dir. of Theater for the New City. In 2010 he filmed John Steppling's dark but brilliant 'Dogmouth' which he directed and played the eponymous lead which won seven awards & was The Official Selection of ten festivals. In 2019 he wrote and directed 'The Assassination of J. Kaisaar and the Rise of Augustus – the Sopranos meet Mad Max – a futuristic version of Antony & Cleopatra but set in a dystopian future & with dialogue that Tony Soprano would feel at home in & which he also filmed. It won Best Sci Fi Feature in The Golden State Film Festival as well as awards in The American Filmatic Arts Awards (Feb 22), NY Movie Awards, The Milan Gold Award and The Florence Film Awards (Official Selection). Stephan was honored to be dubbed by Mario Fratti (author of 'Nine' ) as “my Director” directing and acting in seven productions. He had a co-starring role in Norman Mailer's cult favorite 'Tough Guys Don't Dance'. Backed by Arthur Miller for 4 years to direct 'Incident at Vichy' on Broadway – a mission sadly ending with Mr. Millers death. As Artistic Director of The Great American Play Series – a series of major staged readings of neglected American classics - casts have included F. Murray Abraham, Austin Pendleton, Rebecca De Mornay, Paul Mazursky, Judith Light, Barry Primus, Mark Rydell, Richard Dreyfuss, Peter Weller, Fisher Stevens, Sally Kirkland et al.
A published writer he has has had articles in theater journals and written 'Rock Tavern' a novel about a young artist coming into his own by following in the footsteps of Jackson Pollock which was recommended for publication by Norman Mailer.
November 19, 2019
I have been reading a lot about Orson Welles lately and find that most biographies dip into his life here and there, even when they seem to go from cradle to grave. The writers just do not tell you about the bits they leave out and if they mention those bits, they only include the details that interest them, not necessarily the details that are interesting. This preamble is by way of explaining that Barbara Leaming seems obsessed by some of the things that matter least to me, such as Welles as an object of homosexual desire and all the gay sex that went on around him, plus and all the women Welles took to bed and took in other places. I am far more interested in his career and the art he produced than Leaming. I am sure that many people will find this a 5 star book. It is only "OK" for my interest.
July 6, 2015
great wealth, Kenosha, praised at youth as genius min public school, age 9 lost mom found sex, doctor for unusual children, repeat lurid dreams, play doctor, vacant father, watch porno as child, too much adulation, father drunk dead 58, high opinion of self as actor, phony left wing radicals of nyc he said, taxes owed leave country, like any other pervert.
June 19, 2011
Awesome Orson - he's one of my heroes anyway (this is not the first biography of his I've read and certainly won't be the last!), but this one was enlivened by his own willing (and witty) participation. Well-written and engaging. Orson's life remains unique and inspirational.
May 24, 2019
Barbara Leaming wrote this biography of the great actor and director Orson Welles with his cooperation, and as you might expect it is full of quotes from Welles and of his side of things in general. It’s a sympathetic portrait and as such includes a laudatory portrait of his life with a special emphasis on his unique artistry which began to form during his early years of famous theatre productions in New York and radio productions like the The War of the Worlds show that’s probably the only radio show many people have ever heard of from that time when radio was such a popular form of entertainment. It also chronicles his move to Hollywood, his study of film, and his triumphant first movie, Citizen Kane, one of the most highly praised and influential films ever made, though it was not a success when it was released in 1941. From there it was mostly struggle and decline as Welles had to take acting jobs and wine endorsements in order to raise money for subsequent film and theatre projects which didn’t yield much of lasting importance and were a stunning about face for someone who had been driven to work in a Rolls Royce limousine in his early twenties.
Leaming has some very good insights, among them her idea that this director who is praised as a fantastic auteur of unique genius, and someone who spent so much of his life at odds with the Hollywood Establishment and its representatives really required the immense resources--financial, artistic, technological--of the studio system in order to realise the full potential of his artistic vision. As an independent filmmaker he floundered but with the president of Hollywood studio RKO backing him he could employ lavish sets with ceilings, special cameras and film capable of deep focus and even he himself, as an actor and star, underwent extensive makeup-enhanced transformations which allowed him to create his personal style which called attention to the way movies tell a story and brought a new self-consciousness to cinema.
The book also details his personal life and relationships, including his marriage to Rita Hayworth, his partnership with John Houseman and formative influences from his early life growing up in Wisconsin and Chicago. It’s very Orson-centric (not like his masterpiece Citizen Kane with its multiple perspectives) and the author clearly admires her subject but it is also a full portrait giving a thorough account of the man as actor, director and hustler.
Leaming has some very good insights, among them her idea that this director who is praised as a fantastic auteur of unique genius, and someone who spent so much of his life at odds with the Hollywood Establishment and its representatives really required the immense resources--financial, artistic, technological--of the studio system in order to realise the full potential of his artistic vision. As an independent filmmaker he floundered but with the president of Hollywood studio RKO backing him he could employ lavish sets with ceilings, special cameras and film capable of deep focus and even he himself, as an actor and star, underwent extensive makeup-enhanced transformations which allowed him to create his personal style which called attention to the way movies tell a story and brought a new self-consciousness to cinema.
The book also details his personal life and relationships, including his marriage to Rita Hayworth, his partnership with John Houseman and formative influences from his early life growing up in Wisconsin and Chicago. It’s very Orson-centric (not like his masterpiece Citizen Kane with its multiple perspectives) and the author clearly admires her subject but it is also a full portrait giving a thorough account of the man as actor, director and hustler.
Read
July 5, 2020audiobook. fittingly self-reflexive considering its subject, great quotes from the man himself, and I finally learned what brechtian means
July 7, 2015
Barbara Leaming wrote this biography of the great actor and director Orson Welles with his cooperation, and as you might expect it is full of quotes from Welles and of his side of things in general. It’s a sympathetic portrait and as such includes a laudatory portrait of his life with a special emphasis on his unique artistry which began to form during his early years of famous theater productions in New York and radio productions like the The War of the Worlds show that’s probably the only radio show many people have ever heard of from that time when radio was such a popular form of entertainment. It also chronicles his move to Hollywood, his study of film, and his triumphant first movie, Citizen Kane, one of the most highly praised and influential films ever made, though it was not a success when it was released in 1941. From there it was mostly struggle and decline as Welles had to take acting jobs and wine endorsements in order to raise money for subsequent film and theater projects which didn’t yield much of lasting importance and were a stunning about face for someone who had been driven to work in a Rolls Royce limousine in his early twenties.
Leaming has some very good insights, among them her idea that this director who is praised as a fantastic auteur of unique genius, and someone who spent so much of his life at odds with the Hollywood Establishment and its representatives really required the immense resources--financial, artistic, technological--of the studio system in order to realize the full potential of his artistic vision. As an independent filmmaker he floundered but with the president of Hollywood studio RKO backing him he could employ lavish sets with ceilings, special cameras and film capable of deep focus and even he himself, as an actor and star, underwent extensive makeup-enhanced transformations which allowed him to create his personal style which called attention to the way movies tell a story and brought a new self-consciousness to cinema.
The book also details his personal life and relationships, including his marriage to Rita Hayworth, his partnership with John Houseman and formative influences from his early life growing up in Wisconsin and Chicago. It’s very Orson-centric (not like his masterpiece Citizen Kane with its multiple perspectives) and the author clearly admires her subject but it is also a full portrait giving a thorough account of the man as actor, director and hustler.
Leaming has some very good insights, among them her idea that this director who is praised as a fantastic auteur of unique genius, and someone who spent so much of his life at odds with the Hollywood Establishment and its representatives really required the immense resources--financial, artistic, technological--of the studio system in order to realize the full potential of his artistic vision. As an independent filmmaker he floundered but with the president of Hollywood studio RKO backing him he could employ lavish sets with ceilings, special cameras and film capable of deep focus and even he himself, as an actor and star, underwent extensive makeup-enhanced transformations which allowed him to create his personal style which called attention to the way movies tell a story and brought a new self-consciousness to cinema.
The book also details his personal life and relationships, including his marriage to Rita Hayworth, his partnership with John Houseman and formative influences from his early life growing up in Wisconsin and Chicago. It’s very Orson-centric (not like his masterpiece Citizen Kane with its multiple perspectives) and the author clearly admires her subject but it is also a full portrait giving a thorough account of the man as actor, director and hustler.
October 3, 2022
This is not the Barbara Leading biography I was expecting. I've read many of her books -- Jacqueline Onassis, Kick Kennedy, Rita Hayworth -- and find her compassionate, linear and efficient. This is the first book of hers I've read where she's had direct access to her subject. She's still compassionate here, but not remotely linear or efficient. Is this because Welles influenced her? Or is it because Welles himself was the most undisciplined and disorganized of geniuses?
I wish there'd been more Kane and more Third Man -- two movies that really rocked my world -- and less of Welles' wacky and fragmented childhood and days at the Todd Seminary for Boys. More about his art and less about his meandering childhood sexual experiments. I have a feeling this book reflects what Orson wanted us to know about Orson, not what we may want to know.
I wish there'd been more Kane and more Third Man -- two movies that really rocked my world -- and less of Welles' wacky and fragmented childhood and days at the Todd Seminary for Boys. More about his art and less about his meandering childhood sexual experiments. I have a feeling this book reflects what Orson wanted us to know about Orson, not what we may want to know.
September 21, 2024
“i played the voice of a toy. some terrible robot toys from japan that change from one thing into another. the japanese have funded a full-length animated cartoon about the doings of these toys, which is all bad outer space stuff. i play a planet. i menace somebody called something-or-other. then i’m destroyed. my plan to destroy whoever-it-is is thwarted and i tear myself apart on the screen.” - orson welles on transformers (1986)
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December 21, 2017a terrible biography for those interested in Welles the filmmaker, but since Leaming cannot abstain from divulging every romantic and sexual detail connected to Welles' life, I can see why it was a terrifically popular biography.
November 24, 2022
Sometimes a mediocre book can provide a memorable reading experience. Such is the case with "Orson Welles: A Biography" by Barbara Leaming. Leaming indulges many of the bad habits that we associate with older Hollywood biographies in this book. In fact, I thought it had been authored by a much older writer than Leaming was at the time of its writing (1985). But, it seems that Leaming just had that odd affectation that afflicts historians where you take on the habits of the era in which you specialize.
Leaming indulges Freudian psychoanalysis, handwaves Welles' various sexual indiscretions and unresolved paternity issues, adheres to auteur theory with militant zeal, excuses racially insensitive artistic decisions, and steers clear of anything resembling class analysis. The greatest of these weaknesses is a tendency to hint at potential homoerotic or homosexual relationships in Welles' life without giving the attention they deserve if indeed there was more proof of their existence than Leaming's vague innuendos.
Leaming takes a fawning posture towards Welles that I find unbecoming of a biographer. I don't know that a biography needs to be adversarial, but I winced the numerous times that Leaming referred to herself as Welles' "friend." That being said, that Welles was able to draw Leaming into his orbit and receive such positive treatment as a subject does go a long way towards showing the reader how the man was able to fund so many projects with limited commercial value, attracting money for his various projects from Kane to Chimes at Midnight.
And that brings us to what is most useful about this biography, and why I enjoyed it so much despite its shortcomings. Leaming answers what is probably the most important question in the book "How did Orson Welles become 'Orson Welles?'"
Welles started out his life the way that all prodigies do: with inherited wealth. From there, a combination of intelligence, persistence, ego, and opportunity positioned him to be the man who made "Citizen Kane" when he was only 25 years old. However, these same traits --particularly the ego-- conspired to make him washed up by 30. There are so many intriguing "almost" projects in Welles' life that he would have been equally accomplished if he had done none of what he actually did and done all of what he almost did.
Welles' massive ego wreaked havoc in many aspects of his life. He felt he could philander with reckless abandon, blow through money professionally and personally without a care, and bite off more than he could chew in every creative endeavor. He even wasted the better part of a decade thinking launching a political talk show could eventually lead him to the White House.
Though Welles' brash risky egotism cost him a lot in life, it is also what allowed him to create the numerous great non-commercial works he did. He never much cared what happened to his backers' money after it was put into a movie, and in fact, would often move on to the next projects before the one he had just directed was out of post.
And while it is tempting to speculate on what might have happened to Welles' career had he been more commercial, more of a finisher, less of an egoist, less pretentious, or more of a team player. But, then, of course, Orson Welles wouldn't be Orson Welles.
Leaming indulges Freudian psychoanalysis, handwaves Welles' various sexual indiscretions and unresolved paternity issues, adheres to auteur theory with militant zeal, excuses racially insensitive artistic decisions, and steers clear of anything resembling class analysis. The greatest of these weaknesses is a tendency to hint at potential homoerotic or homosexual relationships in Welles' life without giving the attention they deserve if indeed there was more proof of their existence than Leaming's vague innuendos.
Leaming takes a fawning posture towards Welles that I find unbecoming of a biographer. I don't know that a biography needs to be adversarial, but I winced the numerous times that Leaming referred to herself as Welles' "friend." That being said, that Welles was able to draw Leaming into his orbit and receive such positive treatment as a subject does go a long way towards showing the reader how the man was able to fund so many projects with limited commercial value, attracting money for his various projects from Kane to Chimes at Midnight.
And that brings us to what is most useful about this biography, and why I enjoyed it so much despite its shortcomings. Leaming answers what is probably the most important question in the book "How did Orson Welles become 'Orson Welles?'"
Welles started out his life the way that all prodigies do: with inherited wealth. From there, a combination of intelligence, persistence, ego, and opportunity positioned him to be the man who made "Citizen Kane" when he was only 25 years old. However, these same traits --particularly the ego-- conspired to make him washed up by 30. There are so many intriguing "almost" projects in Welles' life that he would have been equally accomplished if he had done none of what he actually did and done all of what he almost did.
Welles' massive ego wreaked havoc in many aspects of his life. He felt he could philander with reckless abandon, blow through money professionally and personally without a care, and bite off more than he could chew in every creative endeavor. He even wasted the better part of a decade thinking launching a political talk show could eventually lead him to the White House.
Though Welles' brash risky egotism cost him a lot in life, it is also what allowed him to create the numerous great non-commercial works he did. He never much cared what happened to his backers' money after it was put into a movie, and in fact, would often move on to the next projects before the one he had just directed was out of post.
And while it is tempting to speculate on what might have happened to Welles' career had he been more commercial, more of a finisher, less of an egoist, less pretentious, or more of a team player. But, then, of course, Orson Welles wouldn't be Orson Welles.
October 21, 2020
At this point I may be an authority on all things Orson Welles. A fascinating man no doubt. The original globe trotting bohemian gypsy maverick. An artist. This man was in Rio making It's All True for the U.S. government, which he only did half the time he was there, the other half he spent sticking his cock into every local woman, wife and widow he could get his Hollywood hands on. A jealous husband (or brother) shot at him while he was reading in his hotel room dressed in a Kimono. He had to escape to the other room and subsequently the street, still in his Kimono where he called up some of his patrician chums from Brazil who immediately told him, after hearing his plight, 'After getting shot at like that, a man needs relaxation above all else. Meet us at the bordello deluxe in thirty stat.' And off he went, immediately, in his Kimono. Orson Welles, ladies and gentlemen.
November 11, 2025
Mediocre book about an amazing subject. The author breaks the flow of the biography too many times to include her meaningless, mundane chit-chat with Orson, as if she wanted to insert herself into his biography. Not only pretentious, but very boring. She goes on and on forever about her conversation with OW about his guest urinating in his pool and beats that horse after he died a long time ago. And that's the case with all the other "private conversations" the author inserts within the biography, which mostly end with the empty phrase "such is life" or similar. Still, it is a well-researched and important first-hand document about Orson's life. Too bad that a lot of books' space is wasted.
May 10, 2024
Stubborn, Arrogant, Controlling, Absentee Father, and serial cheater but also a man of great kindness, compassion, and a total genius at his craft no matter the scale Orson Welles is a greek tragedy of the modern age or in his own terms, “I started from the top and worked my way down.” Which is displayed beautifully in this book, from his rather slim childhood to a month before his death Orson Welles bounced from fame to infamy in a way most men would find soul crushing yet he trudged on with an almost fanatical love for movies that continued even until his final days.
January 9, 2021
I really only knew about Citizen Kane and the War of The Worlds broadcast as well as some of his poor commercials later in his career. This book gives a great understanding into the man. The author seemed to have a trusting friendship with the man, making it easier for her to get him to open up. Granted, this means that some of the stuff she reports on him could be fabricated from the source himself, but the book still comes across as very honest thorough.
December 22, 2021
If you’re going to only read one Orson Welles biography, this one is probably the most celebratory and easiest to digest but it glosses over a lot and does it’s best to frame his life as him victimized by fate, which is certainly an element there, but it ignores some of his bad behaviour and justifies it by saying he was putting on a mask for people.
Overall a decent read but the Simon Callow 4 book set would be a better choice if you really want to dig into his fascinating life.
Overall a decent read but the Simon Callow 4 book set would be a better choice if you really want to dig into his fascinating life.
October 25, 2018
#101 of 120 books pledged to read during 2018.
Good comprehensive biography; I'm deducting one star since Orson Welles gave his complete cooperation to the book, completed about a year before his death. I feel the author downplayed his flaws and faults as a result, but the sections on "Citizen Kane" and on his early years are particularly compelling.
Good comprehensive biography; I'm deducting one star since Orson Welles gave his complete cooperation to the book, completed about a year before his death. I feel the author downplayed his flaws and faults as a result, but the sections on "Citizen Kane" and on his early years are particularly compelling.
December 23, 2021
Barbara Leaming has written as good a biography as can be written about a very complicated genius of a man in a world of rich people who have no conception of what Orson Welles is all about. A great man who, if he only had the backing he so desperately needed, would have been even greater. A very enjoyable read that is well documented and very readable.
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July 22, 2025An appropriately unique take on the form of a biography. I’ve read and watched a lot about Welles, but was ignorant towards his political aspirations and accomplishments. Quite fascinating to read a biography written when he was still alive, considering how much his legacy and end of life is discussed now.
One of the true geniuses to ever live.
One of the true geniuses to ever live.
June 28, 2021
Very comprehensive biography of the Master. Welles, himself, gave his version of events in his life. At one point, I felt that his critics were right, he was unable to finish his movies; but that feeling quickly dissapated. I'm back in the Orson Welles Superfan club. Highly recommended.
January 2, 2025
Although I learned some things from this book, reading it was a slog. The book is too long and full of trivia. I think the author included a lot of boring facts to please Welles, who cooperated fully and granted her many hours of interviews. I was disappointed.
October 2, 2020
A brilliant biography of the troubling genius of Orson Welles.
January 24, 2022
Magnificent. No Ambersons.
February 15, 2023
Good, but long. Whew.
September 15, 2023
What a life.
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