Frank Mankiewicz

[R.K. Locke]

Thanks for letting me know.

I found part of the relevant section from your book here:

http://books.google.co.uk/books?id=iQlIA...fk&f=false

I hope you don't mind me posting it on the forum. If you do I will of course remove the link.


I also found this section of Welles' Wikipedia page interesting:


Goodwill ambassador[edit]

In late November 1941, Welles was appointed as a goodwill ambassador to Latin America by Nelson Rockefeller, U.S. Coordinator of Inter-American Affairs and a principal stockholder in RKO Radio Pictures.[49]:244 The Office of the Coordinator of Inter-American Affairs was established in August 1940 by order of the U.S. Council of National Defense, and operated with funds from both the government and the private sector.[49]:1011 By executive order July 30, 1941, President Franklin D. Roosevelt established the OCIAA within the Office for Emergency Management of the Executive Office of the President, "to provide for the development of commercial and cultural relations between the American Republics and thereby increasing the solidarity of this hemisphere and furthering the spirit of cooperation between the Americas in the interest of hemisphere defense."[50]

The mission of the OCIAA was cultural diplomacy, promoting hemispheric solidarity and countering the growing influence of the Axis powers in Latin America. The OCIAA's Motion Picture Division played an important role in documenting history and shaping opinion toward the Allied nations, particularly after the U.S. entered World War II in December 1941. To support the war effort and for their own audience development throughout Latin America Hollywood studios partnered with the U.S. government on a nonprofit basis, making films and incorporating Latin American stars and content into their commercial releases.[49]:1011

The OCIAA's Motion Picture Division was led by John Hay Whitney, who was asked by the Brazilian government to produce a documentary of the annual Rio Carnival celebration taking place in early February 1942.[49]:4041 In a telegram December 20, 1941, Whitney wrote Welles, "Personally believe you would make great contribution to hemisphere solidarity with this project."[51]:65

Artists working in a variety of disciplines were sent to Latin America as goodwill ambassadors by the OCIAA, most on tours of two to four months. A select listing includes Misha Reznikoff and photojournalist Genevieve Naylor (October 1940May 1943); Bing Crosby (AugustOctober 1941); Walt Disney (AugustOctober 1941); Aaron Copland (AugustDecember 1941); George Balanchine and the American Ballet (1941); Rita Hayworth (1942); Grace Moore (1943); John Ford (1943) and Gregg Toland (1943). Welles was thoroughly briefed in Washington, D.C., immediately before his departure for Brazil, and film scholar Catherine L. Benamou, a specialist in Latin American affairs, finds it "not unlikely" that he was among the goodwill ambassadors who were asked to gather intelligence for the U.S. government in addition to their cultural duties. She concludes that Welles's acceptance of Whitney's request was "a logical and patently patriotic choice".[49]:245247

In addition to working on his ill-fated film project, It's All True, Welles was responsible for radio programs, lectures, interviews and informal talks as part of his OCIAA-sponsored cultural mission, which was a success.[52]:192 He spoke on topics ranging from Shakespeare to visual art to American theatre at gatherings of Brazil's elite, and his two intercontinental radio broadcasts in April 1942 were particularly intended to tell U.S. audiences that President Vargas was a partner with the Allies. Welles's ambassadorial mission would be extended to permit his travel to other nations including Argentina, Bolivia, Chile, Colombia, Ecuador, Guatemala, Mexico, Peru and Uraguay.[49]:247249, 328

As an emissary of the U.S. government, Welles received no salary.[49]:41, 328

"What's really and ironically true about It's All True," wrote associate producer Richard Wilson, "is that Welles was approached to make a non-commercial picture, then was bitterly reproached for making a non-commercial picture. Right here I'd like to make it a matter of record," Wilson continued:


Both RKO and Welles got into the project by trying to do their bit for the war effort. However: RKO, as a company responsible to stockholders, negotiated a private and tough agreement for the U.S. Government to pay it 300,000 dollars to undertake its bit. This speaks eloquently enough for its evaluation of the project as a non-commercial venture. I personally think that Orson's waiving any payment whatever for his work, and his giving up a lucrative weekly radio program, is even more eloquent. For a well-paid creative artist to work for over half a year for no remuneration is a most uncommon occurrence.[52]:189

Welles's own expectations for the film were modest, as he told biographer Barbara Leaming: "It's All True was not going to make any cinematic history, nor was it intended to. It was intended to be a perfectly honorable execution of my job as a goodwill ambassador, bringing entertainment to the Northern Hemisphere that showed them something about the Southern one."[18]:253