By Colin Campbell

Note: The following review contains some spoilers on the film “Me and Orson Welles”

The real Orson Welles received only a single Oscar for his writing contributions to Citizen Kane, and the amount of his contributions as one remains a debatable topic. But now, even years after his passing, the Academy might still be reluctant to compromise and give posthumous credit to one of the most uncompromising figures in American cinema. However, giving an Oscar to the man that portrayed him, the Academy just might be ready for that. A new face on the screen by the name of Christian McKay has already received a number of nominations and awards for playing him like the leading man he was.

It’s 1937 and a young Orson Welles is putting together Broadway’s Shakespearean production of Julius Caesar. Boisterous yet charming, Orson is shown at his best and his worst from the moment he emerges from the Mercury Theater searching for a new actor to play Lucius. Zac Efron plays Richard, who manages to secure the role by agreeing to work for nothing and doing some boasting of his own. He’s quickly handed over by Sonja Jones, played by Claire Danes, who gives Richard a crash course in working for the theater and more importantly, working for Orson.

It isn’t long before his high standards are made clear when he demands Richard go home and learn his lines after hearing them on stage for the first time. Upon his return, Orson becomes more of a father figure and invites Richard along to watch him perform in a radio show, claiming he can teach him everything there is to know about radio in an hour.

In the back of Orson’s private car (which is actually an ambulance Orson uses to get around town easier), he reads out loud what he refers to as “American poetry” in a selection from The Magnificent Ambersons. Orson calmly adds it to the live broadcast before going back to the script. The actors and production crew alike applaud his boldness after they go to commercial. His boldness continues off the air as he approaches a lovely production assistant and uses slight of hand to light a match and transform it into a rose that he hands to her. Richard is as awe struck as the rest of the room, and it’s here where you see Orson at his absolute best. Charismatic, brilliant, and seemingly immune to failure.

Christian McKay’s performance captures the charm of Orson Welles like nothing else, and the charm alone would be enough to warrant a nomination. However, it’s McKay’s portrayal of Welles’ duality that borderlines on a split personality. Orson’s uncertainly is displayed brilliantly as he tells Richard of “the thing” that’s bound to happen, some horrible misfortune that occurs just before an opening. Richard mentions another actor who fell through the trap door and Orson swats down the very suggestion, insisting it just wasn’t sinister enough.

In the meantime, Richard manages to win the affections of Sonja, much to the dismay of many in the cast who failed at getting her interest. The production comes together and falls apart all at once, with problems ranging from scenes being added and cut to disputes among the cast, and usually against the “always right” Orson.

When Richard accidentally sets off the fire alarm sprinklers practicing the match trick, Orson goes mad and insists it was sabotage, demanding someone step forward and admit to it. Although he was accused, he manages to act his way out of it by convincing Orson it was probably just “the thing” he anticipated. All seems to be coming together for the production, but Richard’s world is shattered when Sonja very nonchalantly informs him that she’s staying with Orson the night before the premier.

Young and impulsive, Richard confronts Orson about Sonja the next morning and the fact he’s married with a child on the way. Orson is enraged by the confrontation and fires Richard instantly, giving the classic show biz promise of never working in this town again.

Opening night and the sudden loss of an actor rattles the cast, including Orson, who finds Richard on a park bench after leaving the theater. In a rare moment of humility he praises Richard’s abilities, claiming he’s the only natural actor in the production and that he sees moments of brilliance from him. Richard agrees to come back after giving some conditions, but we soon find Orson’s praise is hollow when George (who plays Marc Antony) gets a fierce case of stage fright. Orson uses the same quotations of praise on George, convincing him to go on stage as well just moments before the show begins.

As the production begins, cast and crew watch the audience eagerly from behind the stage, searching for that reaction that would mean the difference between a hit or a flop. The stage production is something to admire and is recreated with obvious attention to detail, and each member of the cast gives an incredible performance.

Despite the selfishness, the ego, and the audacity Orson puts on full display throughout the film, you can’t help but smile along with him upon hearing the crowd’s reaction. You almost begin admiring him again, right up until Richard is told by another cast member that Orson only intended to use him to ensure a good opening night. He’s told another actor had already selected to take his place despite several of the cast members standing up for Richard. In the end, Richard accepts defeat and goes back to school, entertaining the idea of becoming a writer instead.

I love a long shot, especially when it pays off. I once made $15 into $150 on a 10 to 1 bet at the wheel of fortune at Binion’s Horseshoe in Vegas. Just last year I cursed myself for not putting at least a $2 bet on “Stimulus Package” to show as I watched the 20 to 1 horse screw up my quinella at Hollywood Park.

In my opinion, some of the best films are gambles, and gambling on the Academy Awards has become an unofficial tradition in come circles. Bearing this in mind, if Christian McKay gets nominated for playing Orson Welles, I’m putting down some cash on him to steal the best supporting actor slot.