Orson Welleswill always be best known for writing, directing, and starring inCitizen Kane. He did so while he was still in his ’20s, and the film was immediately impactful,causing a lot of controversy upon release before becomingbefore going on to beone of the most acclaimed moviesof all time. Even people who haven’t seenCitizen Kaneare likely to have heard of it and its importance in American film history.
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It might sound like the definition of a tough act to follow, but Welles did follow it with plenty of other great movies, even if they rarely got the same kind of love thatCitizen Kanedid. The following 10 films have Welles acting, directing, or sometimes doing both, all going to show that he was more than just a one-hit wonder when it came to acting and filmmaking.
‘Touch of Evil’ (1958)
BesidesCitizen Kane,Touch of Evilmight be the most popular movie directed by and starring Orson Welles. It was one of the final examples of classic film noir,given the genre reached its endin or around 1958, with a plot revolving around two shady detectives who attempt to frame an innocent man for a horrific car bombing.
The opening scene depicting the explosion is one of the film’s most iconic moments, withTouch of Evil’sexcellent cinematographybest demonstrated during this suspenseful sequence. Welles isn’t the main character in front of the camera. Still, it makes an impression in one of his most menacing performances, with the look and feel of the movie demonstrating that in 1958, he was still a master behind the camera, too.
‘The Magnificent Ambersons’ (1942)
The Magnificent Ambersonswas Welles' first film released afterCitizen Kane. Orson Welles only features in the film as a narrator, allowing him to flourish as a writer/director for this lavishly shot family about romance, family infighting, and a large inheritance that’s up in the air.
It fits a lot into its short 88-minute runtime, whichcame about because of the film being recut. Welles didn’t have full control, andThe Magnificent Ambersonswould likely have been an even stronger film if it hadn’t been reworked by producers/editors. However, it still has plenty of qualities to admire. Even if the runtime harms the narrative and flow of the movie, the quality of acting and visuals can still be easily appreciated.
‘The Lady from Shanghai’ (1947)
AsThe Lady from Shanghaidemonstrates,Touch of Evilwasn’t the only time Welles made a classic film noir. Like many film noir movies, it involves a man getting wrapped up in a complex plot that turns deadly, as here, Welles' character gets wrapped up in the lives of a wealthy man and his young, attractive, and potentially dangerous wife.
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It’s got suspense, bleakness, romantic tension, and a femme fatale—all things you’d want out of a classic film noir. WhileTouch of Evilexcels the most in its opening scene, it’s probably the climax ofThe Lady from Shanghaithat stands as its most memorable scene, with its violent ending taking place in a dizzying, disorientating hall of mirrors.
‘The Third Man’ (1949)
The Third Manwas not directed by Orson Welles, nor did he star as its main character. However, it’s a classic mystery/thriller film that holds up and remains beloved over 70 years after its release and deserves a mention among other classic Orson Welles movies.
The plot centers on a man named Holly Martins, who desperately searches Vienna for the truth behind the disappearance/possible death of his friend, Harry Lime. Orson Welles stars as Lime, and though his screen time is limited, he makes a fantastic impression. As a film about unraveling a mystery, the less said, the better. However, it’s fair to say that it is one of the best classic mystery movies out there, making the wait for its dramatic conclusion more than worth it.
‘The Trial’ (1962)
Franz Kafkawas an author with a very particular style that’s hard to capture on film. The sense of unease and paranoia he specialized in exploring seemed to work better on the page than it could’ve on film… until Welles' adaptation ofThe Trial—one of Kafka’s most iconic works—came along in 1962.
Welles has a supporting role in this, but most of his talent shines through, thanks to the direction.The Trialis a dizzyingly tense movie, telling the nightmarish story of a man arrested and put on trial, even though everyone refuses to tell him what crime he’s been charged with. Few movies get as psychologically tense and surreal as this while also feeling so visceral, and it’s a testament to Welles as a director that he could capture Kafka’s unique voice on screen.
‘Jane Eyre’ (1943)
Far from the only film adaptation ofJane Eyre, the classic novel byCharlotte Brontë, this 1943 version is still one of the better-known ones. The story naturally follows the title character from childhood to adulthood, suffering hardships at a young age and then becoming romantically entangled with a mysterious lord while caring for his daughter.
Welles plays said lord here—Edward Rochester—in one of his rare romantic roles. It’s a little strange at first to see Welles in a movie set so long ago that isn’t aShakespeareadaptation, but he does well here, never overshadowingJoan Fontainein the lead role, either. Welles did not direct this one either - instead, it was directed byRobert Stevenson, who’s probably best known for directing 1964’sMary Poppins.
‘The Stranger’ (1946)
Of all the movies where Welles explored the film noir genre as an actor/director,The Strangermight be his darkest. It works the recently concluded World War Two into its plot, following a member of the War Crimes Commission as he investigates a small American town, believing it to be the location where a key Nazi Party official is hiding after the war’s end.
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It’s a movie that’s likely to inspire a good deal of paranoia as it explores how easily evil people can blend into an otherwise “normal” society. Here, Welles plays the film’s antagonist, and he does so incredibly effectively, adding to the film’s tense atmosphere and overall uneasy feel.
‘Chimes at Midnight’ (1965)
Most Shakespeare adaptations are perfectly content to adapt just one of the Bard’s famous plays, but withChimes at Midnight, Welles refuses to take such a straightforward approach. Instead, this film looks at the character of Sir John Falstaff, who appears in several Shakespeare plays.
As such,Chimes at Midnighttakes scenes fromHenry IV,Richard II,Henry V, andThe Merry Wives of Windsor. It’s an interesting watch, and due to its unique approach, it feels distinct from most other Shakespeare adaptations. It’s sure to be a particularly satisfying watch for diehard fans of the legendary playwright.
‘F for Fake’ (1973)
F for Fakeis designed to be a movie that’s very hard to describe. The film combines reality and fiction, blending documentary with (possible) fiction playfully, using this approach to explore the concepts of fakery, deception, and trickery.
The way it keeps viewers on their toes may not be to everyone’s liking, but it’s hard not to appreciate the effort here and the cheekiness of the film’s style. It was one of the final projects Welles worked on during his life (he passed away in 1985) andserved as a fantastic swansongfor his film career as a whole.
‘The Other Side of the Wind’ (2018)
The story behindThe Other Side of the Wind—as detailed in the documentaryThey’ll Love Me When I’m Dead—may be a more compelling story than what’s on offer here, but the former is worth watching before the latter.
Essentially, regardless of how much you enjoy it, thatThe Other Side of the Windexists at all is nothing short of a miracle. This experimental film about an elderly director returning to Hollywood in his old age in an attempt to make one last masterpiece was shot throughout the 1970s. Welles worked on it in the years before his death, but it was never completely finished. It ended up being passed around unfinished until Netflix bought the rights to it and had itfinally completed for release in 2018. That we got an Orson Welles film released in the 21st century—and 33 years after his passing—is quite astounding.
