A real film for the connoisseur. Welles agreed to play the main role of Cagliostro provided he could direct his own scenes himself. Extraordinarily, Ratoff agreed to this remarkable proposal and so we have one of the most astonishing films ever made. In fact, Welles directed only the actual shots and camera set-ups in which he personally appeared. Of course, as he had by far the biggest part in the film, there were a great many of these, but he did not necessarily direct whole scenes — where the camera was focused exclusively on other players within the scene, these shots were directed by Ratoff — an arrangement which must have given the film editors nightmares, as the two directors had totally different visual styles!

Things worked well when Welles had the camera glide after him as, dressed all in black, he wended his way through the crowded salons and antechambers of the palace, and the subsequent audience where Ratoff directed a few innocuous reaction shots of the king laughing; but in the trial scene where straightforward shots of the wigged judges are intercut with weirdly-lit reaction shots of Welles, things worked less well (the weird lighting on Welles seemed also to emanate from no natural source); though later on, the use of a subjective camera, during Mesmer's hypnosis, was more happily integrated. And as for the climax, Welles has directed this with typical passion and fury, topping the somewhat similar denouement in "The Stranger".

As usual, Welles the director is masterfully in command of Welles, the actor. His is rightly the most powerful and engrossing performance in the film. Welles' influence extended to the other players in his scenes. He has turned Nancy Guild into a sort of wax doll, which contrasts well with her spirited portrayal of the vicious Marie Antoinette in her Ratoff-directed scenes (as she plays a dual role, it was certainly a masterful touch having a different director for each!) Incidentally, it is pleasing to note that this film continues a not uncommon practice in European films of having the same actor play in disguise two entirely different and separate roles — a practice that is virtually unknown in Hollywood. Stephen Bekassy is at home in his role as the villain, Margot Grahame makes a realistic study of DuBarry. Just about all the roles, in fact, are judiciously cast.

The script abounds in nice realistic touches like Louis fixing his clocks. However, the film suffers from some unfortunate additional scenes and dialogue contributed by Richard Schayer. The most ridiculous of these is an absurdly-contrived framing Prologue in which young Alexander (sic) Dumas (played by Raymond Burr of all people — he seems excusably ill-at-ease in the part) visits his father. A casual reference to "Camille" is dropped into the conversation with as much subtlety as a bomb at a tea-party, while Dumas Senior (Berry Kroeger in an odd-looking wig) makes some equally clumsily-contrived allusions to "The Three Musketeers" and "The Count of Monte Christo"! The direction here is as leaden and routine as we usually expect from Ratoff. However he does improve as the film progresses, though both he and actor Goldner can do little with the absurd contrivance of having Mesmer of all people volunteer as an advocate for the Crown in the final trial scenes.

It is obvious that Welles has prevailed upon Ratoff to let him direct some of the crowd scenes. These are directed with bite and fury and with a pictorial and editorial extravagance (some shots of enormous hordes of people are on screen for less than two seconds) rare to the American cinema. Also, there are some exciting montage routines using Cagliostro's luminous eyes as a focal point. Production values are exceptionally lavish, with atmospheric photography, vast, picturesque sets, attractive costumes and eye- catching use of natural locations.

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.

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.