History YMMV / TheOtherSideOfTheWind

* ValuesResonance: When the film was in production throughout the 1970s, the decadent nature of Hollywood was still just the subject of myth among much of the general public, with the film industry still maintaining a glamorous facade that allowed it to seem like this land of milk and honey for aspiring talent. In light of the Me Too movement that started just a year before the film's eventual release, however, it comes off as one of the first (albeit heavily belated) truly honest looks into what Hollywood is actually like; a decadent, parasitic entity that leeches off of young stars for personal gain and gradually causes its biggest names to rot away both physically and mentally.

* GeniusBonus: Despite being a satirical movie about cinephilia and uncritical adulation of older films, a lot of the jokes and references depend on a good knowledge of arcane film history. A good example is the scene where Hannaford is blowing the candles, and one of them makes a joke about a car crash of [[Creator/FriedrichWilhelmMurnau Murnau]] and [[Creator/JamesDean Dean]], which refers to the fact that both Murnau and Dean died in a car crash before the premier of their final films and they both died fairly young, adding in a dose of DramaticIrony given that Hannaford's death under similar circumstances is given away in the opening narration. The scene is also lit in a way that evokes Murnau's GermanExpressionism.

* TrueArtIsAngsty: This is one really dark, bleak movie about the endless frustration of the movie business without any glamour or pleas for TrueArt anywhere. It's also about growing old and about Hollywood never being worth all that much at any point of time, and the fact that even liking movies is probably not all that good a pastime. A case can be made for it being Creator/OrsonWelles' bleakest film ever.

* DarknessInducedAudienceApathy: This is one really dark, bleak movie about the endless frustration of the movie business without any glamour or pleas for TrueArt anywhere. It's also about growing old and about Hollywood never being worth all that much at any point of time, and the fact that even liking movies is probably not all that good a pastime. A case can be made for it being Welles' bleakest film ever.

* GeniusBonus: Despite being a satirical movie about cinephilia and uncritical adulation of older films, a lot of the jokes and references depend on a good knowledge of arcane film history. A good example is the scene where Hannaford is blowing the candles, and one of them makes a joke about a car crash of [[Creator/FriedrichWilhelmMurnau Murnau]] and [[Creator/JamesDean Dean]], which refers to the fact that both Murnau and Dean died in a car crash before the premier of their final films and they both died fairly young, adding in a dose of DramaticIrony given that Hannaford's death under similar circumstances is given away in the opening narration. The scene is also lit in a very expressionistic style that evokes Murnau's GermanExpressionism.

* ValuesResonance: When the film was in production throughout the 1970s, the decadent nature of Hollywood was still just the subject of myth among much of the general public, with the film industry still maintaining a glamorous facade that allowed it to seem like this land of milk and honey for aspiring talent. In light of the Me Too movement that started just a year before the film's eventual release, however, it comes off as one of the first (albeit heavily belated) truly honest looks into what Hollywood is actually like, being a decadent, parasitic entity that leeches off of young stars for personal gain and gradually causes its biggest names to rot away both physically and mentally.

* ValuesResonance: When the film was in production throughout the 1970's, the decadent nature of Hollywood was still just the subject of myth among much of the general public, with the film industry still maintaining a glamorous facade that allowed it to seem like this land of milk and honey for aspiring talent. In light of the Me Too movement that started just a year before the film's eventual release, however, it comes off as one of the first (albeit heavily belated) truly honest looks into what Hollywood is actually like, being a decadent and parasitic entity that leeches off of young stars for personal gain and gradually causes its biggest names to rot away both physically and mentally.

* GeniusBonus: Despite being a satirical movie about cinephilia and uncritical adulation of older films, a lot of the jokes and references depend on a good knowledge of arcane film history. A good example is the scene where Hannaford is blowing the candles, and one of them makes a joke about a car crash of [[Creator/FriedrichWilhelmMurnau Murnau]] and [[Creator/JamesDean Dean]], which refers to the fact that both Murnau and Dean died in a car crash before the premier of their final films and they both died fairly young. The scene is also lit in a very expressionistic style that evokes Murnau's GermanExpressionism.

* SoOkayItsAverage: The general critical view is average. Many argue that it's a movie that plays well given the nature of its incomplete nature and post-production views, but they also feel that it's not a masterpiece and the film still remains underdeveloped owing to the fact that Welles never finished it himself. Others are staying on the fence on account of the fact that Welles' films really do have weak receptions only to later be heralded as a great film.
* ValuesDissonance: Most of Welles' career avert this owing to his progressive values and before-it-was-cool leftist stances, but ''The Other Side of the Wind'' while being a fairly critical and subversive film of Hollywood, and being as it is, Welles' most with-it film with its nudity and sex, brushes against contemporary issues such as the fact that Croatian actress Oja Kodar plays a Native American actress who is topless in the film-within-the-film and is a fairly underdeveloped character. The film critic Juliette Riche is intended as a spoof of Creator/PaulineKael, but some of her criticisms about Hannaford's macho affectations, as well as exploiting his cast and crew, come off as being far more valid and accurate than Welles may have intended given the Me Too era.

* ValuesDissonance: Most of Welles' career avert this owing to his progressive values and before-it-was-cool leftist stances, but ''The Other Side of the Wind'' while being a fairly critical and subversive film of Hollywood, and being as it is, Welles' most with-it film with its nudity and sex, brushes against contemporary issues such as the fact that Croatian actress Oja Kodar plays a Native American actress who is topless in the film-within-the-film and is a fairly underdeveloped character. The film critic Juliette Riche is intended as a spoof of Pauline Kael, but some of her criticisms about Hannaford's macho affectations, as well as exploiting his cast and crew, come off as being far more valid and accurate than Welles may have intended given the Me Too era.

* DarknessInducedAudienceApathy: This is one really dark, bleak movie about the endless frustration of the movie business without any glamour or pleas for TrueArt anywhere. It's also about growing old and about Hollywood never being worth all that much at any point of time, and the fact that even liking movies is probably not all that good a past-time. A case can be made for it being Welles' bleakest film ever.

* PacingProblems: Inevitable given the nature of how it finally came together, but the film's first 25 minutes or so is deadly slow and introduces a bunch of characters only few of them continue till the end, and it isn't until the party sequence begins that the movie really picks up.

* ValuesDissonance: Most of Welles' career avert this owing to his progressive values and before-it-was-cool leftist stances, but ''The Other Side of the Wind'' while being a fairly critical and subversive film of Hollywood, and being as it is, Welles' most with-it film with its nudity and sex, brushes against contemporary issues such as the fact that Croatian actress Oja Kodar plays a Native American actress who is topless in the film-within-the-film and is a fairly underdeveloped character. The film critic Juliette Riche is intended as a spoof of Pauline Kael, but some of her criticisms about Hannaford's macho affectations and his exploitation of his cast and crew, come off as being far more valid and accurate than Welles may have intended given the Me Too era.

* ValuesDissonance: Most of Welles' career avert this owing to his progressive values and before-it-was-cool leftist stances, but ''The Other Side of the Wind'' while being a fairly critical and subversive film of Hollywood, and being as it is, Welles' most with-it film with its nudity and sex, brushes against contemporary issues such as the fact that Croatian actress Oja Kodar plays a Native American actress who is topless in the film-within-the-film and is a fairly underdeveloped character. The film critic Susan Strasberg is intended as a spoof of Pauline Kael, but some of her criticisms about Hannaford's macho affectations and his exploitation of his cast and crew, come off as being far more valid and accurate than Welles may have intended given the Me Too era.

* ValuesDissonance: Most of Welles' career avert this owing to his progressive values and before-it-was-cool leftist stances, but ''The Other Side of the Wind'' while being a fairly critical and subversive film of Hollywood, and being as it is, Welles' most with-it film with its nudity and sex, brushes against contemporary issues such as the fact that Croatian actress Oja Kodar plays a Native American actress who is topless in the film-within-the-film and is a fairly underdeveloped character. The film critic Susan Strasberg is intended as a spoof of Pauline Kael, but some of her criticisms about Hannaford's macho affectations and his exploitation of his cast and crew, come off as being far more valid and accurate than Welles may have intended given the Me Too era.

* ValuesDissonance: Most of Welles' career avert this owing to his progressive values and before-it-was-cool leftist stances, but ''The Other Side of the Wind'' while being a fairly critical and subversive film of Hollywood, and being as it is, Welles' most with-it film with its nudity and sex, brushes against contemporary issues such as the fact that Croatian actress Oja Kodar plays a Native American actress who is topless in the film-within-the-film and is a fairly underdeveloped character. The film critic Susan Strasberg is intended as a spoof of Pauline Kael but some of her criticisms about Hannaford's macho affectations and his exploitation of his cast and crew, come off as being far more valid and accurate than Welles may have intended given the Me Too era.