Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Suman Roberson It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

mike dewey Our subject film gets underway by showing Mr. Welles in a very inauspicious light, as evidenced by his tepid, if not sarcastic, reception at the Rome airport as he arrived at the terminal almost unnoticed and visibly upstaged by Ty Power's arrival. But what's our guy to do given his current set of circumstances brought upon him by Ms. Hayworth giving him the old heave-ho and thereby ending their marriage? So now he's in post WWII Rome where he shall try to undergo some face saving (he hopes) by attempting to reinvigorate his career by directing his slightly convoluted version of Othello that starts to look like a comedy of errors at the immediate onset of this dubious production.But camp turns to tragedy as one of the actors gets murdered not long into the production. The dying thespian whispers something into Mr. Welles' ear just before passing on, and now a whole new chain of events starts to take place. One mystery begets other mysteries in a sort of arithmetic progression and the serious side of this drama/mystery starts to unfold. And this part of the film shows an understated, realistic Orson Welles who stumbles about looking for murder clues amidst a truly chaotic time in Italy. No star fanfare or ballyhoo here as he undertakes this complex task.After all, it is post WWII Italy and the country is in total upheaval as large segments of the populace live in dire poverty. Added to this is a loose but dangerous amalgamation of ex-Nazis, dope dealers, neo-Fascists, US & other Allied forces' mercenaries acting under the guise of the political umbrella called the Christian Democrats who purportedly want to democratize Italy and make it a safe haven for democracy, out of Stalin's Communist Party's reach. Welles stumbles into these characters as he proceeds with trying to find more facts surrounding the murder on his set and ends up in a bailiwick of troubling surprises in so doing. What he sees, hears and learns from one of his old friend American colleagues (Chris Walken's role) and others in the aforementioned umbrella group is what drives the latter part of the film and pieces together the political ramifications of what transpires here. Was this a true account of what actually happened in post WWII Italy's chaotic time of turmoil? As was said toward the film's conclusion: "You want facts, read a History book!" At least there you will find out one person's view of the facts...Welcome to the real world!!

blanche-2 Danny Huston is Orson Welles in "Fade to Black," a 2006 release, directed by Oliver Parker, and featuring Paz Vega, Diego Luna, Christopher Walken, Anna Galiena, and Nathaniel Parker.In this story, Welles goes to Italy after his divorce from Rita Hayworth to make a film, "Black Magic." He also wants to raise money for his film version of "Othello." While in Italy, one of the actors in the film is murdered, and as he's dying, he whispers the word "Nero" in Orson's ear. Welles intends to find out who killed him. But he finds himself not only involved with shady characters, but embroiled in the politics of the country. As time goes on, he begins to hear different stories about the actor, somewhat contradictory in nature. On top of which, Tyrone Power is a much bigger star in Italy and Welles keeps coming up short, except on a hit list!This is a nice blend of fact and fiction. Welles did go to Europe around this time, and he made several films, which he often did when he was trying to get money together. His marriage to Rita Hayworth was a complicated one. When his political ambitions led nowhere in the '40s, Rita, so desperate to get out of show business, turned to Aly Khan instead. Welles adored her, but her insecurities made her difficult to live with and was a bad combination with his egotism.It's doubtful that Welles would have gotten himself mixed up in anything that didn't somehow lead to his own self-aggrandizement, but I could have gone along with it if the script had been better. It tries to cram in too much plot.Italy after the war was a horrific mess. The production values for "Fade to Black" are wonderful and show the post-war ruination, as well as striking differences between rich and poor. Of course, Cinecitta the film studio is in Rome, and Tombolo, the place where deserters and collaborators escaped, is way up north, though it's not clear if they're speaking of a district or the city. In any event, it's a wooded area seemingly not far from Rome. The word tombolo has more to do with a mound or beach, so the woods would be the name for it.Danny Huston doesn't look or sound like Welles, except on the film that plays behind his magic act - there we see him in the typical Welles big overcoat and hat, in black and white. He does a good job, though I do believe Welles was a bit showier. As the mother and daughter who knew the murdered actor, Paz Vega and Anna Galiena are gorgeous and look just like mother and daughter. Both have a mysterious aura which adds to the film.The denouement is no surprise. Still, this is an enjoyable film about one of Hollywood's most electrifying people, a brilliant maverick with a flamboyant personality. Sadly, though he resented the discipline and structure dictated by a Hollywood studio, he needed it. Once he left, he was never the same.

MBunge I'm not sure how this was as a novel, but the film version has the classic flaw of all book adaptations. In trying to cram hundreds of pages of narrative into a couple of hours on screen, things need to be cut out. Sometimes things that are important, even vital, to the prose have to be sacrificed to the demands of cinema and other elements expanded or enhanced to take their place. Fade to Black has a great setting and a great hook but needed to severely restructure its plot in order to take full advantage of them. Any movie about genius filmmaker Orson Welles also needs to be a hell of a lot more visually imaginative than this. Those weaknesses mean that a film which starts out quite strong and has a lot of initial appeal, never manages to fulfill your expectations. Watching it is an okay experience, but also vaguely disappointing.In 1948, with his career on the down slope and his personal life in ruins, Orson Welles (Danny Huston) travels to Italy to play the bad guy in a two-bit production called Black Magic. After one of his co-stars mysteriously dies, Welles decides to investigate and finds himself caught up in the political intrigue of Italy's first post-war election and winds up a name on somebody's hit list. With the aid of his driver, Tommaso (Diego Luna), and the distracting motivation of a beautiful actress, Lea (Paz Vega), Welles discovers that reality is more twisted than any fantasy he can dream up.Fade to Black has three major strengths. Well…four, if you count the presence of Paz Vega. Danny Huston is very appealing as Orson Welles. Who's to say how personally accurate the portrayal is, but Huston does a fine job at capturing the essence of a wunderkind that was no longer a kind who felt no rules applied to him and didn't handle it well when he discovered some did. The moments here that play up Welles love of filmmaking are nicely contrasted by his conflicted relish of fame and dread of celebrity. Plopping Welles down into the middle of a murder mystery is also a great idea. So is using Welles as a window into the turmoil of post-Mussolini Italy and the dawning of Cold War political manipulation.Unfortunately, combining the mystery and the political machinations proves to be too much for the film to tolerate, especially when it turns out neither has much to do with the other. Perhaps they were woven together better in the novel. Here, each vies for your attention and stunts the growth of the other. When it comes time for big developments in either the murder or the political underhandedness, it feels a bit hollow because there hasn't been the proper build up. One of them needed to be kept in the background, with the other come fully to the foreground and a subplot involving the fate of Italian Jews and an ill fated Resistance cell should have been done away with entirely. As it is, Fade to Black starts out entirely about the mystery, then becomes totally about the politics, then flips back and forth between the two until the very end.I don't want to be overly critical because I did like this movie. It came so close to being a lot better than it is, though, it's hard not to be caught up in those lamentable failings. If writer/director Oliver Parker had embraced Huston's Welles as the story's heart and soul and not felt obligated to elevate Diego Luna's Tammaso to nearly his equal, which may have been true to the Italian novel this is based upon but is nothing but false to the potential of this movie, he might have made something compelling. What he created instead was merely satisfactory. That's much better than most but in this instance, it isn't enough.

kuciak Of course this is a fictional account, and as the narrator Welles says, "if you want history read a history book." First for people who will see this film, Black Magic, while having Italian help, was really an American film, and Welles is reputed to have directed his own scenes, and if you see that film, you will be able to see his trademark. The film Black Magic, is also not that bad a movie. I had heard about this film being possibly made in the late 90's, and was surprised to see that it actually had been. The man who directed this film also had ironically directed Othello in 95. the use of Orson Welles in a thriller is something unusual. I love Orson Welles movies, and wonder if we all were cheated that he was not able to do more. I suspect that I like others are part of an Orson Welles cult following, and that is why such a film is made, with Orson Welles as a lead character. It is ironic that seven years before this film was made, Leiv Shreibner, (I probably spelled his name wrong) played a very convincing Welles, and sometimes seemed to look like him,. especially when he moved across to an elevator. I couldn't help but feel that it would have been something of a great sequel if the same actor had played Welles in this film and not Danny Huston.I don't want to suggest that Danny Huston is a failure in this film, but I think that if the film does not really grab our intention and our future memories of film, his performance in the film may be one of the reasons for that. I first remember Danny Huston in the Austrailian film The Proposition, a film in which I feel he gave an excellent performance. In this film however, I think the idea of the filmmakers, and perhaps Huston, was to portray Welles as really an everyman, not a leading figure in a movie that we would like. When he is kissing a woman in a scene, we feel that woman is only kissing him because he is someone important, not someone they find attractive. Even his co-star in the film he is about to do shows scorn for him. Everyone else in the film seems to be more of an interesting person that he is. When he meets his friend from long ago, Pete, (played by Christopher Walken, in a good performance), Walken seems more magnetic than Huston as Welles. This Welles in a clumsy, and has to be pulled out of a few situations by his Chaufeuer, and I guess body guard played by Mexican actor Diego Luna. this Welles, as someone comments towards the end of the picture does not seem important at all. Only during a scene, where Huston portrays Welles doing his magic trick, does the character of Welles really shine through, and perhaps suggests, that Welles was just another guy in this world, but through magic was able to make him on screen and on stage more magnificent than the real person. If the filmmakers had this in mind, make everyone else perhaps more interesting, I think that this was a miscalculation, and perhaps not very flattering on the life of Orson Welles. Hustons portrayal of him, does not make Welles look either interesting or likable. The film which starts out as a murder mystery, leads more to a conspiracy than just a possible murder itself. The idea is interesting, and asks some questions itself, which I won't say because it might give away to much. Though, you can see things in this film a mile away.