The Immortal Story (TV Movie 1968) ⭐ 7.0 | Drama (original) (raw)

Orson Welles, Norman Eshley, and Jeanne Moreau in The Immortal Story (1968)

In Macao, a wealthy merchant named Charles Clay hires two people to recreate a story of a sailor who is paid to impregnate a man's wife.In Macao, a wealthy merchant named Charles Clay hires two people to recreate a story of a sailor who is paid to impregnate a man's wife.In Macao, a wealthy merchant named Charles Clay hires two people to recreate a story of a sailor who is paid to impregnate a man's wife.

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Orson Welles directs based on a novel by Isak Dinesen a story about an Ebenezer Scrooge type, the miserly rich old man who doesn't believe in stories and prophecies, who hears a story about a sailor picked up by an old man in a harbor to sleep with a beautiful woman and decides to make the story happen in real life, "so that at least one sailor can tell it from beginning to end, like it happened". This is like an essay on fiction, or like a charcoal sketch, except the charcoal in Welles' hand leaves smudges and we get those smudges as handprints on the canvas because The Immortal Story seems to talk about the anxieties of a storyteller and a magician but also of an aging man and an exile. In parts of the static, dour, style, he channels Bergman, old Dreyer, Beckett, his own work, there's a beautiful piano accompaniment and Jeanne Moreau, in her Pierre Cardin attires, looks ravished and ravishing at the same time. In the end the story is reenacted for the old man's benefit and to his satisfaction, but the sailor leaving the mansion refuses to tell it to anyone because who would believe him anyway. Perhaps Welles is telling us that some things, the important ones in life, we tell as stories because no one would believe us otherwise, so that in the world of imagination they can become as real and so communicate their truth, and inversely that perhaps all stories in the world happened somewhere to someone in some form, and we only hear their echo through the centuries. Or even that we're all as characters in a story, moving at the bidding of a higher authority that pulls the strings, but it's our right and choice to tell our story or not. Food for thought.

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Orson Welles, Norman Eshley, and Jeanne Moreau in The Immortal Story (1968)

By what name was The Immortal Story (1968) officially released in India in English?

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