In 1985, the cinema landscape lost a titan when Orson Welles passed. With his talent, different projects are under development during that time including the unfinished shot of The Other Side of the Wind. The said project stagnates after Welles’ death.
Currently, it is almost 50 years after the cameras begin to roll on the film. Netflix made an effort to get considerable resourced to bring it to fruition. With the use of Welles’ scripts and notes, the hundreds of footage hours are buried in legal vaults. Then, the studio released the final posthumous film of the great director, storyteller, visionary craftsman who may have or have not last surprise to all of us. The Other Side of the Wind is one of the most anticipated films of the people.
A film screening party for the popular Hollywood director (John Huston), the evening dissolves the smattering insults and manifested ego jolts as the reporters, and actors congregate to witness the rebirth of JJ Hannaford’s waning career.
Intermixed within the film proper is the film-within-a-film screening wherein a variously covered and nude woman Oja Kodar seduces a similar clad or nude man Bob Random as well as cavort in different studio backdrop locations. It was the movie that Hannaford is expecting to resurrect his career.
The Other Side of the Wind is a frustratingly and discombobulating esoteric relationship without a shred of redemptive narrative urgency. Welles ’unfinished film must remain exactly. The movie’s reputed autobiographical tones are fixated on the Huston’s aging Hollywood stalwart at the expense of everything else.
The concept of the movie defined as jiggly documentary cameras that follow Hannaford and his moving roadshow from a private screening room, swanky mansion, highways of California, fly on the wall and more. The pornographic focus of Oja Kodar for no apparent purpose makes this film not highly recommended.