Orson Welles

The Other Side of the Wind experienced irregular financing, notably involving Iranian partners, followed by ownership, inheritance and control disputes that prevented Welles from completing the film during his lifetime and blocked its release for decades.

State of the evidence

Well documented

Attribution

Directly implicated

The respective contributions of Welles and Herman J. Mankiewicz to the Citizen Kane screenplay became a lasting controversy, with some accounts accusing Welles of attempting to appropriate Mankiewicz's work.

State of the evidence

Documented

Attribution

Directly implicated

After viewing Universal's re-edited version of Touch of Evil, Welles sent the studio a lengthy memorandum detailing his requested corrections. Universal disregarded most of them and released its own version in 1958.

State of the evidence

Documented

Attribution

Directly implicated

The FBI opened a file on Welles and examined his activities and possible communist connections within the political context of 1940s Hollywood.

State of the evidence

Documented

Attribution

Directly implicated

For The Lady from Shanghai, Welles had Rita Hayworth's famous red hair cut short and dyed blonde, angering Columbia chief Harry Cohn. The studio subsequently judged the first edit incomprehensible and imposed restructuring, reshoots and substantial cuts.

State of the evidence

Well documented

Attribution

Spouse

The Latin American project It's All True expanded during Welles's stay in Brazil, while RKO's management changed and became concerned about costs. The studio cut funding and stopped production.

State of the evidence

Well documented

Attribution

Directly implicated

After Citizen Kane was recognised as a satire substantially inspired by William Randolph Hearst, Hearst and his allies attempted to prevent its distribution through pressure on RKO and cinema owners, refusal of advertising and a campaign against Welles.

State of the evidence

Well documented

Attribution

Directly implicated

While Welles was working in Brazil, RKO regained control of the editing of The Magnificent Ambersons, removed dozens of minutes, filmed a new ending and subsequently destroyed the excised material.

State of the evidence

Well documented

Attribution

Directly implicated

The realistic radio dramatisation of The War of the Worlds by Welles's Mercury Theatre was mistaken for a genuine invasion by part of the audience, triggering calls to authorities, alarmist coverage and threats of litigation.

State of the evidence

Documented

Attribution

Directly implicated