Google Ads
Login | Sign Up

The Magnificent Ambersons Overview:

The Magnificent Ambersons (1942) was a Drama - Romance Film directed by Orson Welles, Fred Fleck (uncredited) and Robert Wise (uncredited) and produced by Orson Welles, Jack Moss and George Schaefer.

The film was based on the novel of the same name written by Booth Tarkington published in 1918.

SYNOPSIS

Both one of the supreme works of the American cinema and one of its most notorious "ruined" films, Welles's follow-up to Citizen Kane (1941) keeps him behind the camera, though his presence is felt in every frame. Tarkington's novel about a turn-of-the-century family's conflicts is transformed by Welles into a eulogy for a slower, simpler, and decent past, and this is a more personal film for Welles than his stunning debut the year before. Now missing close to 30 minutes and containing a saccharine "happy ending" shot by another crew while Welles was filming in South America, this version of Ambersons is the only one that survives. The Welles regulars are all here (Cotten, Moorehead, Collins), aided by Cortez's astounding cinematography and Herrmann's fitting score. The laserdisc contains interviews and original storyboards.

(Source: available at Amazon AMC Classic Movie Companion).

The Magnificent Ambersons was inducted into the National Film Registry in 1991.

Academy Awards 1942 --- Ceremony Number 15 (source: AMPAS)

AwardRecipientResult
Best Supporting ActressAgnes MooreheadNominated
Best Art DirectionArt Direction: Albert S. D'Agostino; Interior Decoration: Darrell Silvera, Al FieldsNominated
Best CinematographyStanley CortezNominated
Best PictureMercuryNominated

The Magnificent Ambersons BlogHub Articles:

The Magnificent Ambersons (1942)

The Magnificent Ambersons (1942) On May 2, 2017May 2, 2017 By CarolIn Uncategorized The Magnificent Ambersons (1942) was one of the many, many movies I saw in the glorious summer of 2007. That was the year I fell in love with classic movies, and that summer I watched a... Read full article


The Magnificent Ambersons (1942, Orson Welles)

Unfortunately, I feel the need to address some of the behind the scenes aspects of The Magnificent Ambersons. Not because I plan on talking about them, but because director Welles’s career is filled with a lack of control. There are always questions–what did editor Robert Wise do on his ... Read full article


The Magnificent Ambersons

The Magnificent Ambersons (Orson Welles, 1942) The spoiled young heir to the decaying Amberson fortune comes between his widowed mother and the man she has always loved. The Magnificent Ambersons plays like a nice classical music from a classic composer, it is a story about pride, richness, family... Read full article


The Magnificent Ambersons, the Second Welles’ Masterpiece

Classic Film Aficionados Prologue:The Devil is in the details. It all began with the signing of the new contract by Orson Welles with RKO. With Kane came unprecedented freedoms and choices for Welles, the new agreement gave cast and script approval along with the final cut to RKO for The Magnificent... Read full article


The Magnificent Ambersons, the Second Welles’ Masterpiece

Classic Film Aficionados Prologue:The Devil is in the details. It all began with the signing of the new contract by Orson Welles with RKO. With Kane came unprecedented freedoms and choices for Welles, the new agreement gave cast and script approval along with the final cut to RKO for The Magnificent... Read full article


See More The Magnificent Ambersons Articles

The Magnificent Ambersons Quotes:

Eugene: Fanny, I wish you could have seen Georgie's face when he saw Lucy. You know what he said to me when we went into that room? He said, "You must have known my mother wanted you to come here today, so that I could ask you to forgive me." We shook hands. I never noticed before how much like Isabel Georgie looks. You know something, Fanny? I wouldn't tell this to anybody but you. But it seemed to me as if someone else was in that room. And that through me, she brought her boy unto shelter again. And that I'd been true at last, to my true love.

Narrator: George Amberson-Minafer walked home through the strange streets of what seemed to be a strange city. For the town was growing... changing... it was heaving up in the middle, incredibly; it was spreading incredibly. And as it heaved and spread, it befouled itself and darkened its skies. This was the last walk home he was ever to take up National Avenue, to Amberson Edition, and the big old house at the foot of Amberson Boulevard. Tommorow they were to move out. Tomorrow everything would be gone.

[first lines]
Narrator: The magnificence of the Ambersons began in 1873. Their splendor lasted throughout all the years that saw their midland town spread and darken into a city. In that town, in those days, all the women who wore silk or velvet knew all the other women who wore silk or velvet, and everybody knew everybody else's family horse and carriage. The only public conveyance was the streetcar. A lady could whistle to it from an upstairs window, and the car would halt at once and wait for her, while she shut the window, put on her hat and coat, went downstairs, found an umbrella, told the girl what to have for dinner, and came forth from the house. Too slow for us nowadays, because the faster we're carried, the less time we have to spare. During the earlier years of this period, while bangs and bustles were having their way with women, there were seen men of all ages to whom a hat meant only that rigid, tall silk thing known to impudence as a stovepipe. But the long contagion of the derby had arrived. One season the crown of this hat would be a bucket; the next it would be a spoon. Every house still kept its bootjack, but high-top boots gave way to shoes and congress gaiters, and these were played through fashions that shaped them now with toes like box ends, and now with toes like the prows of racing shells. Trousers with a crease were considered plebian; the crease proved that the garment had lain upon a shelf and hence was ready-made. With evening dress, a gentleman wore a tan overcoat, so short that his black coattails hung visible five inches below the overcoat. But after a season or two, he lengthened his overcoat till it touched his heels. And he passed out of his tight trousers into trousers like great bags. In those days, they had time for everything. Time for sleigh rides, and balls, and assemblies, and cotillions, and open house on New Year's, and all-day picnics in the woods, and even that prettiest of all vanished customs: the serenade. Of a summer night, young men would bring an orchestra under a pretty girl's window, and flute, harp, fiddle, cello, cornet, bass viol, would presently release their melodies to the dulcet stars. Against so home-spun a background, the magnificence of the Ambersons was as conspicuous as a brass band at a funeral.

Narrator: Something had happened. A thing which, years ago, had been the eagerest hope of many, many good citizens of the town, and now it had come at last; George Amberson Mainafer had got his comeuppance. He got it three times filled, and running over. But those who had so longed for it were not there to see it, and they never knew it. Those who were still living had forgotten all about it and all about him.

Roger Bronson: [to George] The law's a jealous mistress and a stern mistress.
See More Quotes from The Magnificent Ambersons
The Magnificent Ambersons Facts
To persuade RKO head George Schaefer to approve this film as a follow-up to Citizen Kane, Welles played him the Mercury Theater of the Air radio version. It is claimed that Schaefer fell asleep during this. Nevertheless, he greenlighted the film for $1 million, an unheard-of move for a studio whose policy was not to make films that cost more than $750,000.

Ray Collins was the only member of the cast to have featured in Welles' radio version in 1939.

Tim Holt and Anne Baxter walk past a movie theater advertising a film starring Jack Holt, Tim's father.

Ironically, RKO's reshot ending for the film - a much more uplifting affair than the one that Welles had intended - is much closer to the ending in the novel.

Robert Wise's first directing experience, although uncredited.

See More Facts about The Magnificent Ambersons >>