The Other Side Of The Wind full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

The film opens by describing the final day of Jake Hannaford, an aging Hollywood director who was killed in a car crash on his 70th birthday, with narration from an elderly Brooks Otterlake, who had been a protégé of Hannaford's. Just before his death, Hannaford was trying to revive his waning career by making a flashy film, laden with gratuitous sex scenes and violence, with mixed results. At the time of Hannaford's party, this film (titled The Other Side of the Wind) has been left unfinished after its star stormed off the set, for reasons not immediately apparent to the audience.

A screening of some incomprehensible parts of Hannaford's unfinished experimental film take place, in order to attract "end money" from studio boss Max David. Hannaford himself is absent, and a loyal member of his entourage, the former child star Billy Boyle, makes an inept attempt to describe what the film is about. Intercut during this, we see various groups setting out for Hannaford's seventieth birthday party at an Arizona ranch. Hannaford arrives with a young Brooks Otterlake, a commercially successful director with a talent for mimicking celebrities, who credits much of his success to his close study of Hannaford.

Many journalists attending the party brandish cameras, and shoot out invasive questions, eventually querying Hannaford's sexuality and whether he has long been a closeted homosexual, in spite of his macho public persona. Hannaford has a history of seducing the wife or girlfriend of each of his leading men, but maintains a strong attraction to the leading men themselves.

Several party guests comment on the conspicuous absence of John Dale, Hannaford's leading man in his latest film, whom Hannaford first discovered when Dale was attempting suicide by jumping into the Pacific Ocean off the Mexican coast. As the party proceeds, Hannaford finds out that Dale's suicide attempt had been faked, and that he had actually set off to Mexico to find Hannaford. Meanwhile, guests are shown more scenes from the film at the ranch's private cinema. One scene makes it clear why Dale left the film - he stormed off the set in anger, in the middle of a sex scene in which he was being goaded by Hannaford off-screen.

As the party continues, Hannaford gets progressively drunker. He is washing his face in the bathroom when he tearfully breaks down in front of Otterlake, asking for the young director's help to revive his career. A series of power outages in the middle of Hannaford's party interrupts the screening. The party continues by lantern-light, and eventually reconvenes to an empty drive-in cinema, where the last portion of Hannaford's film is screened.

Having realized at the party that Otterlake is not going to financially support Hannaford's new film, the two have a mournful last exchange in the drive-in theatre, realising that their friendship is at an end. Intrusive journalist Juliette Riche has asked Hannaford the most explicit questions of all about his sexuality. At this moment, Hannaford violently assaults Riche in anger, while a drunken Billy Boyle mounts an impassioned defense of the director. As dawn breaks, Hannaford drives back to the ranch house, in the sports car he had intended to give to Dale as a gift. At the ranch, Dale is walking around the mostly empty house, having only just arrived the morning after. A drunken Hannaford asks him to get in the sports car with him, but Dale does not. Hannaford drives away, leading to his fatal car accident.

Meanwhile, Hannaford's symbolic film finishes screening to a now-almost-empty drive-in theatre. The only person still watching is the actress who starred in it. She watches the final scene, and drives off as Hannaford's closing narration says:

"Who knows? Maybe you can stare too hard at something, huh? Drain out the virtue, suck out the living juice. You shoot the great places and the pretty people, all those girls and boys - shoot 'em dead."

Plot of the film-within-a-film

Hannaford's experimental film-within-a-film, shot as a spoof of European arthouse cinema typified by Antonioni, and performed without any dialogue, is visually striking, but has very little narrative coherence. The following scenes are shown, in this order:

• A graphic lesbian steamroom scene, rapidly intercut, featuring Oja Kodar, which Hannaford is in the process of filming at the start.
• Several expressionistically shot chase scenes between Oja Kodar and Bob Random amid the skyscrapers of Century City, Los Angeles, with various optical illusions, in which it is not immediately apparently whose character is chasing who. At the end of these scenes, he buys a doll for her, and she rebuffs him, driving off into the night with her boyfriend.
• The two characters meet again in a nightclub. She steps out into the toilets, where various hippies are engaged in various sex acts, and changes her clothes, before coming back in again. He gives her the doll, and she cuts its hair.
• They step out from the nightclub into her boyfriend's 1968 Ford Mustang fastback. The car takes off in the rainy night, and as the boyfriend drives, the pair have sex in the passenger seat next to him. After a few minutes the boyfriend stops the car, grabs the girl off of Dale, and appears to make an attempt to engage her for himself. She rebukes him and the pair is then tossed out. John Dale, with his pants halfway down, lands in a large puddle.
• The next morning arrives and Kodar's totally naked character has found shelter in the second story of a house. From there, she climbs carefully out of an open window, drops to the ground, and wanders to an empty railroad car, where she finds Dale asleep on the floor. More chase scenes with optical illusions ensue, around the M.G.M. back-lot (including Kodar's character going into Andy Hardy's iconic house).
• There is then a sex scene on raw bedsprings left on the studio back-lot, Off screen you can hear Hannaford giving Dale direction, and after some awkward badgering, a naked John Dale decides he's had enough and leaves the set. Hannaford watches him go and calls out through the megaphone ..."goodbye Johnny Dale." The production is now without a leading man.
• There is then a scene - which Hannaford's manager 'The Baron' complains is presented out of sequence - in which a now-clothed John Dale walks alone around a dusty, windy studio back-lot.
• The final scene features a nude Oja Kodar attacking a giant phallic symbol with a knife, and it deflating and collapsing in front of her.

• John Huston as J.J. "Jake" Hannaford, modelled on Ernest Hemingway. Welles denied speculation that the character was also based on himself or Huston, although he noted that there were elements of early Hollywood directors with macho reputations, such as Rex Ingram, John Ford, Raoul Walsh and William A. Wellman.
• Oja Kodar as The Actress or The Red, Red Indian. The unnamed, enigmatic actress features prominently in the film-within-a-film. She also attends Hannaford's party, bridging the two parts of the film. Her role is entirely silent.
• Peter Bogdanovich as Brooks Otterlake, a protégé of Hannaford's who is now a commercially successful director in his own right, and who has a talent for mimicking celebrities. The character has many parallels with Bogdanovich himself, who took over the role after the departure of comedian Rich Little. Little remained credited as a party extra.
• Susan Strasberg as Juliette Riche, a savage film critic. The character was a thinly veiled spoof of Pauline Kael, with whom Welles was in a public feud over her (later discredited) allegation in the essay "Raising Kane" that he did not write Citizen Kane. The role had originally been written with Jeanne Moreau in mind, and was initially played by Bogdanovich's then-wife Polly Platt, who also served as the film's production designer, before eventually being taken over by Strasberg, who reshot the scenes previously filmed with Platt.^:165
• Norman Foster as Billy Boyle, an aging former child actor from Hannaford's early films, and a member of his entourage, portrayed as a stooge. He is a recovering alcoholic, and a compulsive eater of candy, with parallels to Mickey Rooney.
• Bob Random as Oscar "John" Dale, the pretty, androgynous leading man of Hannaford's new film, who walked out mid-filming, leaving the picture unfinished. Like "The Actress", Dale's performance is entirely silent.
• Lilli Palmer as Zarah Valeska, an enigmatic, retired leading lady from the 1930s who owns the ranch which hosts Hannaford's party. The character was based on Welles' old friend Marlene Dietrich, whom he very much wanted to play the role; however, Dietrich was unavailable for filming.^:165:195 Although she appears alongside Strasberg and members of the "Hannaford Mafia" in several scenes, all of Palmer's footage was shot in Europe.
• Edmond O'Brien as Pat Mullins, an aging actor with fascist political leanings who is one of Hannaford's cronies.
• Mercedes McCambridge as Maggie Noonan, Hannaford's devoted editor.
• Cameron Mitchell as Matt "Zimmie" Zimmer, a Texas-born make-up artist of Jewish heritage and one of Hannaford's artistic collaborators. Although he is fired by Costello en route to the ranch, Hannaford later notes that he has frequently fired and rehired Zimmer during past productions. During the party, Zimmer situates an array of John Dale-inspired dummies for Hannaford to shoot at.
• Paul Stewart as Matt Costello, Hannaford's personal assistant and another member of the "Hannaford Mafia". He is reputed to have a long-standing association with the House Un-American Activities Committee.
• Gregory Sierra as Jack Simon, a macho screenwriter with parallels to John Milius, who questions Hannaford's sexual orientation in front of Otterlake.
• Tonio Selwart as The Baron, a parody of Welles' former business partner John Houseman (or his friend producer Alessando Tasca di Cutò), whom he had acrimoniously separated from in the 1940s, and who published several memoirs throughout the 1970s which were scathing of Welles, but who is presented here as doting and devoted. He doubles as Hannaford's primary screenwriter.^:165
• Dan Tobin as Dr. Bradley Pease Burroughs, Professor of English Literature at Clivedale Academy, a boys' boarding school in Franahan, Ohio, which had been implicated in a pederasty scandal involving another teacher. His former star pupil is John Dale. When Pease Burroughs is brought out to Hannaford's party to discuss Dale he is noticeably ill-at-ease in the unfamiliar atmosphere of Hollywood.
• John Carroll as Lou Martin, an actor who is another member of the "Hannaford Mafia".
• Stafford Repp as Al Denny, an actor who is another member of the "Hannaford Mafia".
• Geoffrey Land as Max David, a young studio boss and former child actor, spoofing Robert Evans.^:165
• Joseph McBride as Marvin Pister, an amalgamation of various cinephiles and socially awkward film critics whom Welles had met over the years.^{:164, 177, 200}
• Pat McMahon as Marvin P. Fassbender, a bumptious film journalist.
• Cathy Lucas as Mavis Henscher, a spoof of Bogdanovich's then-girlfriend, actress Cybill Shepherd (who was present for at least some of the filming