3 reviews

---

Emma Irwin December 5, 2009

“Everything happens in the quadruple space….”

In 1937 a carefree, aspiring young actor takes a trip into New York, happens across the Mercury Theatre and lands himself a part in Orson Welles’ production of Julius Caesar. He quickly discovers the perks and pitfalls of a life on the stage and begins to mimic his new found idol.

Zac Efron seems to be growing up and gives a very convincing performance as the aspiring actor, managing to break into song only twice! Christian McKay is relatively unknown on the big screen. However, with strong resemblances to Orson Welles, he makes the perfect choice. His initial appearance does not leave an inspiring first impression of the character but you grow to appreciate his style. McKay expertly brings you round with far away looks as he imparts his advice on his new protégé; he even makes you feel sorry for him.

The script is excellent, littered with brilliant one-liners. The direction, by Richard Linklater, is perfect with a star studded cast (I disagree with the people in the row behind me!). Initially I did wonder where the film was going and the first appearance of Orson Welles did not settle that feeling but I was soon hooked and from the silent tension that echoed around the cinema, imitating that of the Mercury Theatre for the finale, I would say most of the audience (bar the afore mentioned) felt the same. I even left wanting to know more about Orson Welles, something no film has ever inspired me to do previously.

This is an easy-to-watch drama. I left the cinema relaxed and particularly pleased to have seen Efron doing something a little less irritating!

Watch and enjoy!

---

Glenn Watson December 1, 2009

Quicksilver cinema, Me and Orson Welles works like a dream. In 1930s New York, Orson Welles, at twenty-two, sets up the Mercury Theatre Company to wow the world. Charismatic and cruel, he’s a quixotic charmer changing the lives of those he meets. But a wannabe actor dares to buck the trend.

Me and Orson Welles is a captivating film. Christian McKay is stunning as Welles – a ringer for the man, inside and out. And Zac Efron – yes, he of High School Musical – is a revelation as the young buck, Samuels', drawn into Welles’ world.

Richard Samuels (Efron) heads for New York to make it as a singer and actor. An accidental meeting with Orson Welles outside the Mercury Theatre Company leads to a bit part in Welles’ controversial production of Julius Caesar. Under Welles’ wing Samuels is also attracted to the great man’s assistant, Sonja (Claire Danes).

But bright lights can burn and no one stands up to Welles except his partner John Houseman (Eddie Marsan). Through Samuels’ eyes, we too come under Welles’ spell. Awesome and awful, amusing and exasperating, you can’t help liking him.

And Christian McKay was born to play him. A newbie to film-making, McKay was found by director Richard Linklater playing Welles in a one-man show in New York. A Brit with an uncanny resemblance to Welles, McKay has gone further and mastered the man’s mind and quirks to create compelling cinema.

Efron also acquits himself with aplomb. Riffing on his song-and-dance persona, Linklater takes a chance that Efron’s a good actor too. And he is. Like DiCaprio before him, he’s got a great career ahead on this evidence. Cocky and on the cusp of adulthood, Samuels has a lot to learn. Hero-worship one minute, reality biting the next. And Efron nails it perfectly.

Claire Danes, a brilliant actress, conveys confidence and unease as Sonja. It fits with Linklater’s subtle, multi-layered film where nothing is quite as it seems. And the ever-reliable Eddie Marsan is as sound-as-a-pound as Houseman.

But the Mercury Theatre itself is a character and the 30s setting is beautifully rendered. Take a bow, the Isle of Man, whose Gaiety Theatre in Douglas doubles as the original Mercury. Other British locations stand in for New York, but you’d never know it. Filmed by Oscar-nominated cinematographer Dick Pope (Vera Drake, The Illusionist), there’s a lush lyrical look.

Heady with atmosphere and redolent of the breakthrough days of radio drama, Me and Orson Welles is also enjoyable in it’s depiction of theatre- and studio-acting. Welles’ grandstanding during an off-the-cuff live radio performance is a highlight of the film.

High School Musical meets Citizen Kane, wags may say. In part it’s true: solid entertainment with art-house flourishes. But McKay’s Welles is well worth witnessing. And this superior film has a bittersweet tang that stays with you afterwards.

Christian McKay brings all the talent and technique he honed whilst playing the role of Orson Welles in Mark Jenkins'play Rosebud, which won the Edinburgh First Fringe prize in 2004, and in which McKay was spotted during Brits on Broadway season two years ago. The film is entertaining, but if you want the real Orson Welles, try to catch McKay in Rosebud if it ever comes to a theatre near you. Or read Rosebud, published by Infested Waters.

4 Dec 2009