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While Welles supplied narration to the film adaptation, Ray Collins was the only actor from the radio production to appear in the film. The set for the Amberson mansion was constructed like a real house, but it had walls that could be rolled back, raised, or lowered to allow the camera to appear to pass through them in a continuous take.
Snow scenes were shot in the Union Ice Company ice house in downtown L. Welles felt that the film needed to be shortened and, after receiving a mixed response from a March 17 preview audience in Pomonafilm editor Robert Wise removed several minutes from it.
Because Welles had conceded his original contractual right to the final cut in a negotiation with RKO over a film which he was obliged to direct but never didRKO took over editing once Welles had delivered a first cut. The retakes replaced Welles's original ending with a happier one that broke significantly with the film's elegiac tone.
The reshot ending is the same as in the novel.
Welles did not approve of the cuts, but because he was simultaneously working in Brazil on another project for RKO— Nelson Rockefeller had personally asked him to make a film in Latin America as part of the wartime Good Neighbor Policy  —his attempts to protect his version ultimately failed.
Details of Welles's conflict over the editing are included in the documentary about the Brazilian film It's All True. It's a tremendous preparation for the boardinghouse And without that, there wasn't any plot.
It's all about some rich people fighting in their house. You know, all I could do was send wires But I couldn't walk out on a job which had diplomatic overtones.
I was representing America in Brazil, you see. I was a prisoner of the Good Neighbor Policy. That's what made it such a nightmare. I couldn't walk out on Mr. Roosevelt's Good Neighbor Policy with the biggest single thing that they'd done on the cultural level, and simply walk away.
And I couldn't get my film in my hands. A print of the rough cut sent to Welles in Brazil has yet to be found and is generally considered to be lost, along with the prints from the previews.
Robert Wise maintained that the original was not better than the edited version. The film features what could be considered an inside joke: Also appearing on the front page is the column, "Stage News", by the fictional writer Jed Lelandwith a photo of Joseph Cottenwho portrayed Leland in the earlier film.
Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. December More than 40 minutes of Welles's original footage was deleted, with portions reshot. Welles later said, "They destroyed 'Ambersons', and 'it' destroyed me.
As Morgan went to court Isabel, he waved hello to some townspeople. Welles's two favorite scenes of the film were the ball sequence and the boarding house finale. When the film was reedited, the ball sequence was severely reduced, and the finale was removed.
Welles said that the ball sequence, in its original form, was the greatest technical achievement of the film. It consisted of a long take. It had a continuous, carefully choreographed crane shot that traveled up the three floors of the mansion to the ballroom on the top floor.
Various characters conversed and moved in and out of the frame as the camera wove around them. To pick up the pace, editors removed the middle section of the shot. In the ball scene, George mentions to Lucy that he saw some people who were in a club he was in many years ago. He also mentions that he was the president of this club.
A film passage showed the past references unfolding. George joined the Friends of the Ace the local secret society. He insisted on being president of the society and threatened to take away their clubroom if not elected—he became president. The kitchen scene, where George and Jack tease Fanny until she runs away crying, was the beginning of a longer scene.
George spots his grandfather's new construction through the window.LOUIS ARMSTRONG. Louis Armstrong WWI Draft Registration Card 12th September Louis Armstrong believed all his life that he was an All-American jazz boy, born on the Fourth of July, Strictly Ballroom starts with the silhouettes of the dancers accompanied by Blue Danube, subsidizing the gaudy yet glamorous world in which they belong to.
HSC English Strictly Ballroom Essay. This student studied: HSC - Year 12 - English (Standard) Assignment about the Set Texts Strictly Ballroom for Belonging - One of the Modules for HSC English. 3 Ex Credits 3 Exchange Credits . Strictly Ballroom is a postmodern pastiche, a hybridised genre of fairy tail romance which focuses its attention on the gaudy, fantastical world of ballroom dancing and the fixated characters that live within it.
The Point of View of Battle Royal by Ralph Ellison - The point of view in Ralph Ellison’s “Battle Royal” comes strictly from his trials and tribulations that he has overcome as a young black writer that began before the nineteen Fifties. Strictly Ballroom - Perspectives on Belonging Essay Certain texts raise certain perspectives about belonging, whether it be belonging to particular groups through conformity to rules, or belong to a place where you find inspiration to express your own sense of individuality.