Clay (Welles), a wealthy, ailing merchant in 19th century Macao keeps to himself despite murmurs within the local community. imagination, the film is a forlorn love letter to the nature of storytelling. ![]() Contemplative and elliptically concerned with the overlapping happenstance of reality vs. ![]() As fate would have it, this project would be the final completed narrative feature from Welles (though famously he mounted other productions, such as The Deep and The Other Side of the Wind, the latter reconstituted from recently discovered prints, however, and will supposedly be released in the near future, neither completed due to various funding issues), as well as the only color film from the great auteur, a significant aspect considering he abhorred how color technology tended to distract audiences from the actors on screen. ![]() An adaptation of a story by Danish author Karen Blixen (better known for her pseudonym, Isak Dinesen), it was filmed for French television and was meant to be the first in a series of continued adaptations of her work (filming commenced for one day on its direct follow-up, The Heroine, meant to star Welles’ lover, Hungarian actress Oja Kodar). In retrospect, The Immortal Story (1968) is a fitting capstone to Orson Welles’ illustrious yet highly compromised directorial career, a filmography lodged beneath the shadow of his early monolithic achievement, Citizen Kane (1941).
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