Watch Too Much Johnson [workprint]

Too Much Johnson is a silent film directed by Orson Welles in 1938. It is a slapstick comedy that follows the adventures of a womanizing lawyer named August Billings (Guy Kingsley) who finds himself in a series of ridiculous situations while trying to keep his infidelity a secret from his wife, played by Arlene Francis. The film was never released in its completed form due to a fire that destroyed most of the footage, but a partial workprint was discovered in 2008 and released to the public in 2013. The workprint included only the first two acts of the film and was missing some scenes and special effects.

Despite its incomplete state, the film is still an interesting watch and showcases some of Welles' early talents as a director. The opening scene introduces us to August Billings, who is cheating on his wife with a young woman named Daisy (Virginia Nicholson). When Billings' wife unexpectedly arrives home early, he has to come up with an excuse for why Daisy is there, leading to a series of absurd misunderstandings and shenanigans.

The second act takes place on a ship, where Billings is attempting to flee the country to escape his wife's wrath. However, he finds himself caught up in a plot to help a young woman named Leonora (Mary Wickes) retrieve some incriminating letters from her ex-lover, who is also on board the ship. Of course, Billings' attempts to be a hero only lead to more trouble and hilarity.

The film's humor and pacing are reminiscent of the Keystone Kops comedies of the early 1900s, with exaggerated physical comedy and over-the-top acting. It's clear that Welles was experimenting with different styles and techniques in his early years as a filmmaker, and Too Much Johnson stands as an interesting example of his early work.

The performances are all solid, with Kingsley doing a great job as the hapless Billings and Francis bringing a sense of gravitas to her role as his long-suffering wife. The supporting cast is also excellent, with Wickes in particular standing out as the feisty Leonora.

What's most impressive about this film, though, is how much of Welles' signature style is already present in the workprint. The inventive camera angles, deep shadows, and stark contrasts between light and dark are all hallmarks of his later work, and it's fascinating to see them used in a comedic context here.

Overall, Too Much Johnson is a fun little film that provides a glimpse into the early work of one of cinema's greatest directors. While it's a shame that the whole film was lost, the surviving workprint is still a worthwhile watch for anyone interested in the evolution of Welles' style.