In November 1937, high school student and aspiring thespian Richard Samuels takes a day trip into New York City. There, he meets and begins a casual friendship with Gretta Adler, their friendship based on a shared love and goal of a profession in the creative arts. But also on this trip, Richard stumbles across the Mercury Theatre and meets Orson Welles, who, based on an impromptu audition, offers Richard an acting job as Lucius in his modern retelling of Julius Caesar, which... (Full plot summary below)
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In November 1937, high school student and aspiring thespian Richard Samuels takes a day trip into New York City. There, he meets and begins a casual friendship with Gretta Adler, their friendship based on a shared love and goal of a profession in the creative arts. But also on this trip, Richard stumbles across the Mercury Theatre and meets Orson Welles, who, based on an impromptu audition, offers Richard an acting job as Lucius in his modern retelling of Julius Caesar, which includes such stalwart Mercury Theatre players as Joseph Cotten and George Coulouris. Despite others with official roles as producer John Houseman, this production belongs to Welles, the unofficial/official dictator. In other words, whatever Welles wants, the cast and crew better deliver. These requests include everything, even those of a sexual nature. Welles does not believe in conventions and will do whatever he wants, which includes not having a fixed opening date, although the unofficial opening date is in one week's time. In turn, Welles realizes that his name will either be strengthened or ruined in the theater community by this production. Richard is taken under the wing by the production's Jane-of-All-Trades, Sonja Jones. Known as the Ice Queen by the male cast, Sonja deflects much of the unwanted sexual attention by jokingly implying that she and Richard are having a fling, which Richard wants nothing more than to be the truth. As the end of the week and opening night approaches, Richard, having seen Welles' behavior, has to decide if acting in this production is worth it at any cost.
Leave your thoughts about Me and Orson Welles.
| Christian Science MonitorPeter RainerOne of the sweetest and most heartfelt movies ever made about a life in the theater. |
| WaffleMovies.comWillie WaffleMcKay gives one of those performances you have to see to believe, and one that will make you want to see Me and Orson Welles again and again. |
| Mountain Xpress (Asheville, NC)Ken HankeOne of the best films I've ever seen about the theater, about being in love with art, about first disillusionment with art, and about the ability to bounce back from that. |
| San Francisco ChronicleMick LaSalleChristian McKay who, as Orson Welles in Me and Orson Welles"gives what I believe is the most exact and uncanny screen portrayal of an historical figure, ever. |
| Chicago Sun-TimesRoger EbertThe impersonation of Welles by Christian McKay in Me and Orson Welles is the centerpiece of the film, and from it, all else flows. We can almost accept that this is the Great Man. |
| St. Paul Pioneer PressChris Hewitt (St. Paul)Me and Orson Welles is a movie for people who love live theater. |
| Minneapolis Star TribuneColin CovertMe and Orson Welles is a little velvet sack of diamonds. It's a sparkling love letter to a gigantic talent, a romance, a comedy, a drama. |
| Seattle TimesMoira MacDonaldLinklater keeps everything bouncing along, in sepia light and roar-of-the-greasepaint dust, giving us a little lesson in theater history along with an appealing coming-of-age tale. |
| Washington City PaperTricia OlszewskiMcKay embodies the famed director so seamlessly it's enough to recommend this otherwise inoffensively lackluster film. |
| ColeSmithey.comCole SmitheyThe filmmakers would have done better to make a film called "Orson Welles at the Mercury," and construct it around Christian McKay's impeccable interpretation of the man he played on the New York stage in "Rosebud: The Lives of Orson Welles." |
