User Reviews

During his lifetime Orson Welles appeared in many films of other directors to earn money to finance his own projects. Some of those films were horrible, some contained some of his best performances. I always have felt his best performance in a non-Welles film is in Compulsion. Many would hold out for The Third Man. But I think some would say that his portrayal of Cagliostro the great mountebank of the 18th century would get a few votes.

The opening scene and dialog with Berry Kroeger and Raymond Burr as Alessandro Dumas Senior and Junior is an interesting well acted scene. Kroeger has set out to write a novel based on Cagliostro, but he cannot get a handle on the character. A common complaint with authors trying to reach a goal.

The real Cagliostro's character would probably rate a mini-series. This guy was some piece of work. The affair of the diamond necklace as portrayed here was only one chapter in Cagliostro's life. Failing as the senior Dumas said he was doing he wrote a novel with some plot elements from previous work like The Three Musketeers and The Man In The Iron Mask.

As a child Joseph Balsamo aka Cagliostro saw his gypsy mother executed for practicing black arts by Stephen Bekassy the local prefect, a skill which he inherited. His natural abilities as a hypnotist were developed with study under Dr. Mesmer played here by Charles Goldner. But like characters in stories involving superheroes Orson Welles as the grown up Balsamo now stylizing himself as Cagliostro is ready to make a name for himself.

Bekassy has also risen in power and influence and he's got some intrigue going. Welles whom he does not recognize is part of his plan, but Orson has some plans of his own.

Part of those plans involve Nancy Guild who plays the dual role of a girl from out of town and the Queen of France herself Marie Antoinette. Guild does equally well as the girl in love with soldier Frank Latimore the nominal hero of the film. As Marie Antoinette she's not as noble as Norma Shearer in the same part, but no doubt she's royal personage used to royal prerogatives. I do love the scene where Guild gives Madame DuBarry played by Margot Grahame the old fashioned heave ho.

The real Cagliostro died in 1795 surviving the King and Queen of France and he left the mortal coil in Rome. But Black Magic is the kind of film that makes you wish what happens here is true. Orson Welles has so many emotions working at once in the title role, greed, revenge, lust and a spark of a little boy whose mother was taken from him. Note also good performances by Akim Tamiroff and Valentina Cortese as the gypsy confederates of Cagliostro. Cortese is carrying one big old freedom torch for Welles, but he's no time for her, eyes on the prize as it were the prize being the power behind the throne of France.

Quite a few people will see Black Magic as Orson Welles's best performance in a non-Orson Welles film.

This is an unusual blend of courtly intrigue, romance, supernatural thriller, and swashbuckler, from United Artists and director Gregory Ratoff. Orson Welles stars as Joseph Balsamo, a gypsy magician who is gifted with true powers of hypnotism due to a traumatic childhood incident. He renames himself Cagliostro and attempts to gain entry into the upper echelon of 18th century Parisian society, but when he is rejected, he decides to take by trickery what was not given freely. Also featuring Raymond Burr.

I'm not a worshiper at the altar of Welles, nor a detractor. I think he was a gifted man who squandered much of his talents, and had perhaps too much hubris to achieve what he wanted in his chosen art form. I like many of the films he's associated with, but have disliked just as many. This movie reminded me a bit of his later work, inspired in places, threadbare in others, and often giving the appearance of being awkwardly stitched together. He wasn't the director, although he's rumored to have directed scenes, and the film was produced in the traditional manner, and not in the start-and-stop way of later films that kept losing funding.

The sets and locations are good, although they occasionally clash, as one camera angle shows an impressive real courtyard with dozens of extras, while the next angle reveals the performers against an obviously painted backdrop. Instead of ruining the atmosphere, it instead imbues the proceedings with a slight dreamlike quality. I thought Welles did a fantastic acting job, never less than believable, and Nancy Guild isn't bad in a dual role. Valentina Cortese and Akim Tamiroff provide nice support.

I see a lot of praise heaped on this is some of the other reviews and I have to wonder how much of that is based on the idea that Welles was frequently behind the camera and taking the lead.

That is the case and it often shows. Welles style and eye can be seenbat several points during the film. Unfortunately this in and of itself does not ultimately make this a good film. It is very much a product of the assembly line era that it came from.

Take out Welles contributions which in certain scenes give us great shots and what you have is a completely forgettable period piece with a convoluted story that overstays its welcome in terms of length. The film feels too long, yet does not do enough with its running time. Here is Cagliostro the boy, here is Cagliostro the man, here is Cagliostro the toast of high society... all in the blink of an eye, with the only exculpatories being some montages of mass healings. Poor and rushed storytelling, only to hurry up and wait when Cagliostro happens upon the man whom he has sworn to never forget, and the rather tedious and drug out revenge plot takes over.

Nothing I say will stop anybody from watching this, and that's a good thing, you should watch it. It is an interesting bit of the Orson lore, but don't expect the "lost classic" or a "hidden masterpiece". It is neither of those things.

Orson Welles is mesmerizing and perfectly suited to the roll of Count Cagliostro. The Count has waited silently for over 20 years secretly planning revenge on the ruling class he holds responsible for the drunken public execution of his mother he witnessed as a boy.

Is Cagliostro an ambitious Gypsy charlatan or a demonic master of the black arts? Is he really a Count?

There are several entertaining scenes where Cagliostro gains the upper hand over odds stacked against him such as the "choking rope" switcheroo in the jail, and the "your legs are like wax" turnabout. Yet similarly to SVENGALI (John Barrymore) he will not be able to exert this will power forever over everyone.Welles seems to be thoroughly enjoying himself throughout.

BLACK MAGIC has threads in common with "The Prisoner in the Mirror" Boris Karloff presents THRILLER teleplay, an updating of the evil magician known as Cagliostro. The real mystery is why such an enjoyable movie starring Orson Welles was so long overlooked, not released on DVD until 2016 (unfortunately the source print used by Hen's Teeth is not nearly as clear as the sharp print TCM aired in January 2017).

Though considered by some as a costume melodrama with little more than Welles and the art direction going for it, ever since I watched a primitively colorized print of BLACK MAGIC (aired on a local San Francisco station KOFY-TV20 around 1990) it's been my favorite off- beat Welles movie, always a fun find to share with friends who hadn't seen it!

Black Magic surprises on many levels. For a non-Hollywood film, it's suprisingly well produced. You have Welles, who, except for the louder moments of Citizen Kane, usually underplays, being big and bold and involved. He struggled with his weight, and here he is thin, wears tights, and engages in an extended Errol Flynn-like final swordfight. Some have noted here that those who want to extend Welles' body of directorial works include this film, even though Gregory Ratoff is credited as director. I recall that Welles said that he could have taken an associate producer credit on this film. But the final duel and fall does evoke memories of Welles' The Stranger and another film that Welles starred in and is said to have co-directed, Journey Into Fear.

The mesmerit 18th century hypnotist magician Cagliostro, born Joseph Balsamo, is an enthusiast, all-round scoundrel, thunderous conjuror in his own right who uses his powers for vengeance against Louis XV's court . Dealing with his tempestous life and career and his real attempt to gain influence, clout, fame and fortune in Italy and France by using his weird and sinister talents. This is the tumultuous story of his imagination and fair-play for magic, the power of supertition and hypnosis. It begins when being a child he sees how his parents were wrongfully hanged and he himself mistreated, tortured by the orders of Viscount Montagne. He turns an embittered carnival charlatan who attracts the attention of Doctor Meisner, a pioneer of rare, dark sciences, the latter teaches him the art of hypnosis. Then Cagliostro seeks fame, fortune and revenge too, and eventually to find it , thanks to his skills in showmanship, deceiving and bizarre illusion . Conquering a lot of success across Europe by mixing mysticism with hypnotism and spectacle. Later on, the magician becomes involved in a complex plot to supply a double for Marie Antoniette : Nancy Guild in a dual role as Lorenza and as a woman who resembles the Queen . As he is called to cure a pretty girl who bears remarkable resemblance to future queen, wife of the heir of the throne of France Louis XVI , that's why they want to seize the power by discrediting her. As Marie Antoniette being accussed for corruption caused for the queen's collar issue , that was the reason for her subsequent beheading by guillotine during French Revolution . Along the way, Cagliostro is followed by his faithfully gypsy friend named Gitano : Akim Tamiroff and by Zoraida : Valentina Cortese, both of whom help him to getaway from his fateful misfortunes . The greatest cavalcade of intrigue, spectacle, adventure and excitement you'll ever see on the screen. It will hold you in its spell !

Handsome and interesting film providing historical remarks as well as intense drama, thrills, emotion and a spectacular final roof-top duel . The picture certainly has its own appropriate atmosphere and florid ambient, resulting to be an acceptable historic drama, but packing some flaws and gaps . Here Welles revels in the character of notorious eighteenth century Count Cagliostro, however, overacting encouraged by an over-riped personage and clambers all over and just about he spits out the pieces as well . Welles must have been greatly attracted to this role, in fact Orson was expert on playing strange, mysterious and better than life characters such as in Citizen Kane, Mr Arkadin, Moby Dick, Macbeth, Man for all seasons, The Third Man, Lady from Shanghai, King Saul, The stranger. The star co-directed uncredited this nice movie, though at times it shakes down to a rather amatheurish effort. He is well accompanied by the beautiful Nancy Guild who performed too few movies in spite of her extreme beauty , as well as an effective, fine support cast, such as : Margot Grahame as Madame Du Barry who was Louis XV's lover, Frank Latimore as Gilbert, the brave captain of king's guard, Akim Tamiroff, Valentina Cortese and Raymond Burr and Berry Kroger as Alexandre Dumas father and son. It contains atmospheric and adequate cinematography in black and white by Ubaldo Arata and Brizzi, being shot in Italy . As well as evocative musical score by Paul Sawtell. The motion picture was well directed by Gregory Ratooff and Orson Welles without credit . Rating 6/10. Decent and notable drama.

As a hired actor instead of director or producer, Orson Welles -- while making money for those projects he developed on his own -- was used for his deep, godlike voice, but in BLACK MAGIC... released the same year as THE THIRD MAN which epitomized that sublime vocal delivery... it was his sharp, cold, piercing eyes that were the most exploited...

He's a hypnotist after all: born the son of two 1700's-era gypsies whose mother could actually foretell the future, he is soon orphaned when they're hanged for wielding so-called demonic powers...

Making the rest of BLACK MAGIC -- past a frame story involving author Alexandre Dumas, sleeplessly writing about Welles' magician/conman Joseph Balsamo aka Count Cagliostro -- a subliminal revenge tale where Welles is the perfect fit for a cunning manipulator: think Harry Lime in a period piece...

And BLACK MAGIC begins with terrific potential as he's used for genuine future-telling abilities that he works around for random cons, morphing into a PRISONER OF ZENDA-like plot to remove Marie Antoinette...

Done by using gorgeous doppelganger blonde Nancy Guild (contrasting to brunette moll Valentina Cortese partnered with TOUCH OF EVIL actor Akim Tamiroff) as the story becomes not only convoluted but turns an otherwise entertaining, lavishly designed Victorian-era programmer into an overlong political-mutiny melodrama...

Overall, a performer as built-in hypnotic, severely mesmerizing and downright formidable as Mr. Welles portraying an otherwise mobile charlatan, his BLACK MAGIC remains on a single trick for too long.

18th century France. As a boy Joseph Balsamo witnessed his parents being hanged, essentially for being gypsies. Now as an adult he had learned the art of illusion and conjuring and, more importantly, hypnotism. He achieves fame as Count Cagliostro and often uses hypnotism to "heal" people. When he is called on to heal a woman he discovers a plot against the Princess of France, Marie Antoinette, and sees a way to get revenge on the man who murdered his parents.

Starring Orson Welles, co-directed by Orson Welles and based on an Alexandre Dumas novel this film seemed to have a lot going for it. The plot seemed reasonably interesting and the setting and atmosphere seemed just right for a typically intriguing and clever Wellesian drama.

Unfortunately, the end product doesn't quite live up to expectations. The story seems more about machinations for machinations' sake than anything more profound and powerful. Tension is quite limited, as is character engagement as the person who appears to be the hero of the story is in some ways the villain.

All this makes for a reasonably conventional, linear story.

It's interesting enough though to be watchable. Welles puts in a solid performance as Count Cagliostro and clearly revels in the persona of an illusionist, likely because he sees film as the art of illusion.

Overall it's okay but far from Orson Welles's best work.

I just watched the video of BLACK MAGIC again tonight and was once again impressed with it. Orson Welles turns in one of his finest performances. I was also impressed by the quality of the production considering it wasn't a Hollywood studio production (although it was released by United Artists). Elaborate costumes and sets and tons of extras. Interesting plot and photography. It has a nice film noir look to it. But the best part of BLACK MAGIC is Welles.

Orson Welles chews it up like nobody else and makes this a movie that's great fun. It's a tad disjointed in places, but he's so commanding that it works anyway. The male romantic lead is a dud, but he's so minimized that it barely matters. Either way, Wells rocks and this is worth tracking down.

A curious, little-seen oddity based on an Alexander Dumas tale, it adapts the story of Cagliostro, played by Orson Welles, an 18th century magician and charlatan who has strange hypnotic powers and becomes involved in a plot to overthrow the French monarchy in order to revenge himself on the aristocrat who was responsible for the execution of his parents.

In black and white, it makes use of dark scenes, shadows, close ups and other film noir techniques to accentuate the pseudo-magical qualities of Orson Welles' character. Akim Tamiroff as Welles' gypsy friend is rather good, but Nancy Guild in the dual role of Marie Antoinette and Lorenza, the woman who Cagliostro first rescues, then manipulates, is not outstanding. There is some sword-play and many elaborate costumes are on display in the court episodes, and the early scenes showing Cagliosto's gypsy boyhood when he falls foul of the aristocrat who hangs his father and mother and sentences the boy to be whipped and blinded are strong stuff for the time.

The film seems to have been made in Rome for United Artists and although the plot is somewhat bizarre it is strangely watchable.

Sometimes a film is bad enough to exert an almost irresistible fascination, and here's a case in point: an idiotic but colorful melodrama saved in part by Orson Welles' flamboyant performance as Count Alessandro di Cagliostro, a mystic gypsy hypnotist and infamous 18th century charlatan plotting to substitute a somnambulistic imposter to the French throne. Each labored twist of plot falls conveniently into place with an obstinate disregard for logic or coherence (notice how every peripheral character is neatly killed off during the rousing climactic chase), and the period dialogue is, to a word, laughable, in particular during the wacky prologue, where Ramon Burr (as author Victor Hugo) site bedeviled by the character taking shape on the pages before him. Welles' control over the material is obvious: he may have been only an actor for hire, but every baroque and stylish excess bears his unmistakable signature.

Trivia Question: What role was played (in the movies) by both Orson Welles and Zero Mostel? Answer: Joseph Balsalmo, a.k.a. Cagliostro, the charlatan magician who was a leading social figure in Europe in the 1780s and early 1790s. Mostel, early in his film career, played the imposter in DU BARRY WAS A LADY, opposite Red Skelton and Lucille Ball. Welles played the role in BLACK MAGIC, a more serious film based on one of Alexander Dumas Pere's innumerable historical fables.

Basically, the film follows the rise and fall of Cagliostro, building up his tangential involvement in the notorious "Affair of the Diamond Necklace" (1785) which has been the subject of a serious film two years ago. Cagliostro was arrested in that affair's investigation, as the actual culprit was smart enough to lay a path of clues pointing to his involvement.

He was released at the conclusion of the investigation (and banished from France). This movie puts him into the center of the plot, his hope being to use it to discredit the Bourbons and take over the country (in reality he would not have gotten anywhere near such a situation - his own aristocratic associates would have prevented it). Welles does nicely as the power-intoxicated anti-hero, but the plot is so ludicrous that it is hard to believe what's going on. But, come to think of it, the affair of the Diamond Necklace itself was pretty ridiculous, so who should complain.

There seems to be a cottage industry among film scholars to try to expand the films of Welles that he directed. For the record he directed CITIZEN KANE, THE MAGNIFICENT AMBERSONS, IT'S ALL TRUE, THE STRANGER, THE LADY FROM SHANGHAI, MACBETH, OTHELLO, CONFIDENTIAL REPORT/MR. ARKADIN, TOUCH OF EVIL, THE TRIAL, CHIMES AT MIDNIGHT, F IS FOR FAKE, and two television films: THE FOUNTAIN OF YOUTH and THE IMMORTAL STORY, all of which he completed except for IT'S ALL TRUE (which has since been somewhat preserved and edited, and is on video). He also had a hand in JOURNEY INTO FEAR, MONSIEUR VERDOUX, and THE THIRD MAN. There are some films he directed that (for one reason or another) were never cut or released: DON QUIXOTE, THE OTHER SIDE OF THE WIND, and one other that had to do with people on a sinking yacht. Roughly 21 movies. For a major cinema talent it is a pitiful number (only the French director Jean Vigo is of Welles' stature and did less - but Vigo died prematurely after making three films). So it is understandable that Welles' myriad of fans would want to expand his filmography. But is this actually wise.

If one could show Welles' involvement in a film it is a plus to his reputation and that film. Take MONSIEUR VERDOUX. Chaplin had to put down credit that Welles' gave him the idea for VERDOUX - actually Welles suggested doing a film with Chaplin as Henri Landru (the actual wife murderer Verdoux is based on) and Chaplin said no but took the story and turned it into the greatest black comedy film made before DR. STRANGELOVE. People pass ideas back and forth all the time. There is no evidence that Chaplin asked Welles to suggest camera angles or look over the script (Chaplin was brilliant enough to handle that by himself). But it is mentioned in the film credits that Welles suggested the idea for the film. Enough said for that reason.

There is no screen credit for Welles assisting Gregory Ratoff in directing BLACK MAGIC. Perhaps there is a reason for this - Welles may have accepted this for tax reasons (he had large tax problems in the U.S. after 1946 when a Broadway production of AROUND THE WORLD IN 80 DAYS with music with Cole Porter flopped). Or perhaps because of industry word that he was an unreliable film director who went over budget (his most successful film was THE STRANGER, which is also one of his least Wellesian in structure or special touches). Or, Welles may have noticed the film was not that particularly interesting or good. It isn't. It is rather padded, and has only one curious element in it: Welles or Ratoff had most of the cast play two roles each. That is a curious innovation, but hardly worth noting. The same year that Welles or Ratoff did that on Black Magic, Alfred Hitchcock did his famous nine minute static scene takes in ROPE. Although not a great idea, it was innovative, and most people recall that film for that particular innovation. Hitchcock also made DIAL "M" FOR MURDER in 3-D, with more success than most directors. But then Hitchcock was a better director than Ratoff.

Welles and his friend Akim Tamiroff do well in their juicy parts, but not so the other performers (although the role of Dr. Anton Mesmer is of some interest). As a result the film is fairly forgettable. Which would be a good reason not to include it in a list of Welles' films that he directed. Keep his own work under his own name. Hopefully more of the cut scenes from his own films will eventually get restored. Even to THE STRANGER, but (from our words to God's ear) most hopefully for AMBERSONS.

I saw this movie as a boy and it lingers after nearly fifty years as a haunting memory. It may be what we now call noir, but the twinkle in Welles' eye also lingers, suggesting a gris texture. That twinkle is the same that Harry Lime (cine verde?) flashed to Holly Martin in the alley scene of The Third Man (which was also made in Europe in 1949).

Cagliostro was a brilliant montebank, alchemist,poseur and rascal of the first order. Welles gave him credibility, perhaps recognizing a kindred spirit down the centuries. I still remember the dark, cobbled streets and slick rainy roof tops of eighteenth century European cities -- scenes also not unlike the ones in The Third Man. The ending, I remember, was also bitter sweet.

I wish that those who produce lesser know classics for DVD restoration might see this "foreign" movie; it is obviously available somewhere since there have been other reviewers. If they chose it I could have my childhood Madeleine experience, and others would have another Welles film to compare with the finite now available.

Black Magic is an unjustly neglected 1949 Orson Welles film, based on Alexandre Dumas's novel Joseph Balsamo, a fictionalized version of the life of the occultist better known as Cagliostro, set mostly against the background of the days just before the French Revolution. The film is entertaining and well done, though it's a pity that it's in black and white, since the meticulously recreated ancien regime sets and costumes would have looked much more impressive in color. Welles reportedly said that he had more fun making this film than any other, and it's easy to see why, since the melodramatic script gives ample room for over-the-top histrionics, which only an actor of Welles's talent could put over convincingly. It's interesting that Welles here again plays an eccentric genius whose early success was soon undermined by his own flaws -- in other words, a character whose career is intriguingly parallel to his own. I think most people will find the film entertaining, and real Welles fans should consider it a must-see.

The Hen's Tooth Video DVD seems to be the only Region 1 DVD currently available, and it's of adequate sound and image quality, though from a rather poor original print. The film is certainly important enough to deserve a redigitized version with booklet and special features, if possible from a better print, but lacking that, the Hen's Tooth Video version is watchable.

Not having readt the story by Dumas,I really don't feel qualified to comment as to this film's fidelity to the original work.However,it has very little,if anything,to do with the actual history.till,it's a superb example of a cross between swashbuckling and film noir. Has anybody ever commented on the fact that,when Orson Welles did historical or Shakespearean figures,he was really telling so much about himself.Noble,talented,gifted people,whose grandiose designs were brought low by their own tragic flaws.And how good looking he was.If he hadn't doubled his girth in later years,he could have played leading men similar to those of Walter Pidgeon.

HISTORICAL NOTE:The real Cagliostro was exiled from France in 1789,following the business about the diamond necklace.He then moved to Rome,where he established a Masonic Lodge.Now,in Europe,the Masons are NOT viewed as a men's fraternal organization,as in the U.S.A.,but,rather,as a hot bed of treason,treachery,and heresy.Consequently,he was arrested,and sentenced to be executed.The Pope commuted the sentence to life imprisonment,and he spent the rest of his life in prison.

MORAL:We really don't need anyone else to foul up our lives,now,do we?We happen to do a great job on our own.

Orson Welles plays Joseph, a travelling gypsy who is performing a variety of cons, as part of a carnival, in the French countryside, duping local inhabitants out of their hard earned money.

However, he has a real penchant for hypnotism, and this catches the eye of the infamous Mezmer.

Mezmer invites him into his home and encourages him to utilize his abilities to heal...which he is quite adept at doing.

But instead of taking the moral high road, he runs, and seeks to exploit his abilities for power and profit...rebranding himself as the mighty Cagliostro in the process.

Dawning a masons cap and zodiac cloak, he starts healing people publically...which establishes him with a reputation as nothing less than the second coming of Christ.

But a happenstance meeting sees him become infatuated with a young woman who is the doppelganger of the Queen-to-be Marie Antoinette.

And he soon finds himself infiltrating a plot to smear the beautiful young Queen, and seize power.

However, he has his own plans to hijack the con, for his own gain.

The young woman has fallen in love with a man named Gilbert from the Queen's court...but Cagliostro uses his abilities to focus her attention on himself.

Meanwhile a local count and rival of the Queenship plan to frame Marie Antoinette in order to get the populace to turn on her, so that she can take her place in the eyes of Louius XV.

They plan to hypnotize the young girl, get her to pretend she is the Queen, and use public funds to purchase exorbitant jewels, during a time of poverty, in order to instigate a revolution against her.

However, Cagliostro has his own plans...to win the public's trust, play both sides against each other, and prop himself up in power.

But will his power over the mind be enough to overcome the powers of the heart?

He's playing a high risk game that will come with great rewards or a devastating fall from grace.

Both Welles, as Cagliostro, and Nancy Guild as both Marie Antoinette and her doppleganger, Lorenza, shine in their roles.

While Ratoff has fashioned a very stylish film, that is as intriguing as it is entertaining.

I'm honeslty surprised it is not considered one of Welles better known performances, or a more discussed film in general, considering the obvious influences it had on Hitchcock's later masterpiece Vertigo (the spiral staircase; chosing the wrong woman- lust over love; the man refashioning the other woman in the image of another, in order to exhibit his power; and, of course, the finale).

A highly underrated story and film, for sure.

8.5 out of 10.

The trite dialogue, Ed Wood style special effects and ridiculous plot of this film creates a beautiful "cult" charm. Orson Welles plays a highly entertaining Gypsy and even directed a few of his scenes. Matching, and sometimes even topping Welles's fiendish performance is Akim Tamiroff, the sideman actor that played in many of Welles's films from Don Quixote to The Trial. This film is a bit tragic but most certainly charming. There are so many close up shots of Welles's black eyes mesmerizing the audience against a spine tingling score whispering lines like, "you will submit" that it makes me wonder why this film hasn't been re-released and put in the "cult classic" section of video stores. Good luck finding it.

Years ago, I had significant training in hypnosis when I was in graduate school. One sad fact I learned is that despite films like "Black Magic" and "The Cabinet of Dr. Caligari", you cannot use hypnotic skills to turn people into slaves to do your evil bidding. I know...I know...a real shame isn't it? So, when I watch movies with plots like these, I just have to turn off my brain and enjoy them without thinking like a psychotherapist.

When the film begins in the 18th century, some gypsies are unfairly accused of witchcraft and are executed at the orders of the Viscount de Montagne...and the couple's young son, Joseph Balsamo, is ordered blinded!! The boy is fortunately rescued...but not until after he witnesses his parents' execution. Not surprisingly, this embittered the boy and one day he would return for revenge...but how?

One day, the famous hypnotist, Anton Mesmer, recognizes the young man's innate hypnotic skills and trains them. However, Balsamo isn't concerned with using the powers for good and soon disappears...out to make his fortune abusing his gifts. And, soon he's come to once again see the Viscount...and he hatches a plan to destroy him. However, after a while, revenge alone isn't what Balsamo wants...he wants power...and all of France!!

The best thing about this film is Orson Welles' magnetic performance. The story is also quite good...and is well worth seeing.

By the way, throughout the film folks use the word 'hypnosis'. This term was not coined until the 1820s and the film was set in the 1770s. Not a huge mistake...but it would have been referred to as either magnetism or mesmerism instead.

An excellent adaptation of a rather obscure (even in France) novel by Dumas who appears 'in the flesh" in the first -and a bit pointless- scene.But all that remains is quite absorbing and there's never dull moment.

The beginning displays an unusual cruelty ;the hangmen are about to scratch the boy's eyes out :in the distance ,we can see the gallows,where his parents have just been hanged .Orson Welles is absolutely stunning in his portrayal of a disturbing dreadful mysterious person,who could mesmerize (no pun intended) the crowds who stood in awe of this French Rasputin (too bad Welles never portrayed the Russian monk).

Taking with French history the largest liberties ,to put it mildly , the screenplay mixes fictionalized events with some real ones :yes,the king would play the occasional clock-maker ,a footnote of history;yes, Marie-Antoinette could not stand La Du Barry and she had her sent to a convent for two years after Louis The Fifteenth 's death;actually the affair of the necklace occurred about ten years after in 1785. Dumas replaced the Dramatis Personae by his own characters: thus Lorenza unintentionally plays the role of Madame De La Motte ,of evil memory,and the Viscount of Montaigne that of The Cardinal De Rohan ,a naive man who wanted to attract the queen's attention .On the other hand,Cagliostro did take part in the greatest French swindle of the eighteenth century (the queen was totally innocent,in spite of the liars Madame De La Motte would write ,in her obnoxious memoirs ).Cagliostro ,nevertheless,did not die after the trial but about ten years later (apoplexy):he got a life sentence,after being tried for heresy by the papal court .

The love affair is almost devoid of interest ,but it's Welles that counts and he delivers the goods: the scene of the would be sick people in the palace of Versailles ,or Cagliostro digging up Lorenza ( a Poesque scene) can still grab today's audience.