text: Orson Welles manages to knock me on my ass with every picture of his I see. Lady of Shanghai is on the same level as his other masterpieces, The Magnificent Ambersons, Touch of Evil, The Trial, and Chimes at Midnight. The plot can tend to be confusing sometimes, and sometimes it seems to be moving maybe a tiny bit too fast (about an hour of it was edited out when test screenings went poorly). It doesn't matter, however. You can't watch Welles' films and manage to concentrate too much on the plot. His direction defines what great direction is. Almost any scene from this film can hold up with any other scene he directed. Check out the courtroom scene. Usually they are such stock scenes that I can't stand them. Case in point, try to sit through Welles' own speech near the end of Compulsion. In Lady from Shanghai, just pay attention to the level of detail in that courtroom scene. Watch that juror who is always sneezing and interrupting the proceedings. Or just take a look at the lighting in that scene. I know, it is just a simple Venetian blind, and that it was used constantly in film noirs and crime films of the era, but Welles gives it a beauty all its own. The dialogue is also remarkable. Welles had the skill, a skill that no one else seemed to have, to make a crime film containing examples of the grandest poetry. Whether he was speaking Shakespeare or spitting out hard-boiled lines, it had the power to stir the soul. 10/10.
query: Orson Welles manages to knock me
gen_review:  on my ass with every picture of his I see. Lady of Shanghai is on the same level as his other masterpieces, The Magnificent Ambersons, Touch of Evil, The Trial, and Chimes at Midnight. The plot can tend to be confusing sometimes, and sometimes it seems to be moving maybe a tiny bit too fast (about an hour of it was edited out when test screenings went poorly). It doesn't matter, however. You can't watch Welles' films and manage to concentrate too much on the plot. His direction defines what great direction is. Almost any scene from this film can hold up with any other scene he directed. Check out the courtroom scene. Usually they are such stock scenes that I can't stand them. Case in point, try to sit through Welles' own speech near the end of Compulsion. In Lady from Shanghai, just pay attention to the level of detail in that courtroom scene. Watch that juror who is always sneezing and interrupting the proceedings. Or just take a look at the lighting in that scene. I know, it is just a simple Venetian blind, and that it was used constantly in film noirs and crime films of the era, but Welles gives it a beauty all its own. The dialogue is also remarkable. Welles had the skill, a skill that no one else seemed to have, to make a crime film containing examples of the grandest poetry. Whether he was speaking Shakespeare or spitting out hard-boiled lines, it had the power to stir the soul. 10/10.
reference_response:   on my ass with every picture of his I see. Lady of Shanghai is on the same level as his other masterpieces, The Magnificent Ambersons, Touch of Evil, The Trial, and Chimes at Midnight. The plot can tend to be confusing sometimes, and sometimes it seems to be moving maybe a tiny bit too fast (about an hour of it was edited out when test screenings went poorly). It doesn't matter, however. You can't watch Welles' films and manage to concentrate too much on the plot. His direction defines what great direction is. Almost any scene from this film can hold up with any other scene he directed. Check out the courtroom scene. Usually they are such stock scenes that I can't stand them. Case in point, try to sit through Welles' own speech near the end of Compulsion. In Lady from Shanghai, just pay attention to the level of detail in that courtroom scene. Watch that juror who is always sneezing and interrupting the proceedings. Or just take a look at the lighting in that scene. I know, it is just a simple Venetian blind, and that it was used constantly in film noirs and crime films of the era, but Welles gives it a beauty all its own. The dialogue is also remarkable. Welles had the skill, a skill that no one else seemed to have, to make a crime film containing examples of the grandest poetry. Whether he was speaking Shakespeare or spitting out hard-boiled lines, it had the power to stir the soul. 10/10.<|endoftext|>
query_reference_response: Orson Welles manages to knock me  on my ass with every picture of his I see. Lady of Shanghai is on the same level as his other masterpieces, The Magnificent Ambersons, Touch of Evil, The Trial, and Chimes at Midnight. The plot can tend to be confusing sometimes, and sometimes it seems to be moving maybe a tiny bit too fast (about an hour of it was edited out when test screenings went poorly). It doesn't matter, however. You can't watch Welles' films and manage to concentrate too much on the plot. His direction defines what great direction is. Almost any scene from this film can hold up with any other scene he directed. Check out the courtroom scene. Usually they are such stock scenes that I can't stand them. Case in point, try to sit through Welles' own speech near the end of Compulsion. In Lady from Shanghai, just pay attention to the level of detail in that courtroom scene. Watch that juror who is always sneezing and interrupting the proceedings. Or just take a look at the lighting in that scene. I know, it is just a simple Venetian blind, and that it was used constantly in film noirs and crime films of the era, but Welles gives it a beauty all its own. The dialogue is also remarkable. Welles had the skill, a skill that no one else seemed to have, to make a crime film containing examples of the grandest poetry. Whether he was speaking Shakespeare or spitting out hard-boiled lines, it had the power to stir the soul. 10/10.<|endoftext|>