By interviewing only the sworn enemies of Orson Welles, Miss Kael has made herself fair game for Mr. Welles and his more fervent admirers. As a director, Welles is so ebullient that we go along with the way he wants us to feel; we’re happy to let him “put it over on us.” Given the subject of Hearst and the witty script, the effect is of complicity, of a shared knowingness between Welles and the audience about what the movie is about. . In that draft, Kane, like Hearst, in order to reach the masses he thought he wanted to serve and protect, built circulation by turning the newspapers into pulp magazines, and, in order to stay in business and expand, squeezed non-advertisers. . Nunnally Johnson says that while “Citizen Kane” was being shot, Mankiewicz told him that he had received an offer of a ten-thousand-dollar bonus from Welles (through Welles’ “chums”) to hold to the original understanding and keep his name off the picture. Remington grew restless there and sent Hearst a telegram: EVERYTHING IS QUIET. “Raising Kane” Opera—which used to be called “grand opera”—was a ritual target of American comedy. Pauline Kael got messed up. His behavior probably wasn’t deliberately self-destructive as much as it was a form of innocence inside the worldly, cynical man—I visualize him as so pleased with what he was doing that he wanted to share his delight with others. (This custom is now being followed by many directors.) It’s always a little risky to assign credit for ideas in movies; somebody is bound to turn up a film that used whatever it is—a detail, a device, a technique—earlier. Welles had just the right background for the sound era. He had written friends that he bore the scars of his mistake with Charlie Lederer, but just as he had lent the script of “Kane” to Lederer, Marion Davies’ nephew, he proudly showed “Woman of the Rock” to Aimee Semple McPherson’s daughter, Roberta Semple, and that ended the project. It’s a gimmick, really, and rather dollar-book Freud.”, Welles may have been goaded into malice; he had probably never come up against a man so well equipped to deal with him as Mankiewicz. The Citizen Kane Book: Raising Kane and The Shooting Script. (The flapper heroine Colleen Moore was Walter Howey’s niece, and she was started on her career when she was fifteen. That deleted material about the Luce organization’s wanting Raymond’s memoirs, with Raymond’s teaser “He made a lot of mistakes,” is part of an elaborate series of scandalous subplots, closely paralleling scandals in Hearst’s life, that were cut out in the final script. In the trimming, dialogue that was crucial to the original dramatic conception of the Hearst-Luce succession was cut. Mankiewicz wrote the first draft in about three months and tightened and polished it into the final shooting script of “Citizen Kane” in a few more weeks, and he probably didn’t get more than eight or nine thousand dollars for the whole job; according to the cost sheets for the movie, the screenplay cost was $34,195.24, which wasn’t much, even for that day, and the figure probably includes the salary and expenses of John Houseman and the others at Victorville. The word had been used straight by Mrs. Fremont Older in 1936 when she published the authorized biography “William Randolph Hearst, American.” “American” was Hearst’s shibboleth; his Sunday magazine section was the American Weekly, and he had been changing his newspaper titles to include the word “American” whenever possible ever since Senator Henry Cabot Lodge accused him of being un-American in those days after the McKinley assassination when Hearst was hanged in effigy. For whatever reasons, neither Mankiewicz nor Houseman nor Toland ever worked on another movie with Welles. McBride’s greatest sin is apparently his willingness to consider “Citizen Kane” as a work of art rather than in Miss Kael’s terms as “kitsch redeemed,” a culturally defensive attitude for readers and editors who would be shocked to have any movie taken too seriously. According to Houseman, he and Mankiewicz thought they were both brilliant in court; they treated the whole suit as an insult, and enjoyed themselves so much while testifying that they spent the time between appearances on the stand congratulating each other. Hearst, who compared himself to an elephant, looked like a great man. Instead, Welles’ heavily theatrical style overemphasized the psychological explanation to such a point that when we finally glimpse the name on the sled we in the audience are made to feel that we’re in on a big secret—a revelation that the world missed out on. But in the cutting from the sequence of Kane’s first meeting with Susan (where the writing supplies almost no clue to why he’s drawn to this particular twerp of a girl beyond his finding her relaxing) to the political rally, Welles’ special talent comes into play. Now the movie sums up and preserves a period, and the youthful iconoclasm is preserved in all its freshness—even the freshness of its callowness. Pauline Kael (/ k eɪ l /; 19. jun 1919 – 3. septembar 2001) bila je američka filmska kritičarka, najpoznatija po recenzijama koje je pisala za ugledni časopis The New Yorker od 1968. do 1991. godine, i koje su joj donijele reputaciju najuticajnije kritičarke u historiji filma. What was needed to transform that device and make it the basis for the memorable parody in “Citizen Kane” was not only Welles’ experience and not only his “touch” but the great sense of mischief that he and Mankiewicz shared. McBride explicitly compares “Kane” to “8 1/2” and is not that comparison more apt than Miss Kael’s likening of “Kane” to “The Front Page,” for Pete’s sake. Mrs. Gershwin herself wasn’t badly hurt, though she had a head injury that required some stitches. He knows where all the bodies are buried.” It’s an odd, cryptic speech. There are such works in the arts (though few, if any, in movies), but this is not one of them. Working on “Kane,” in an atmosphere of freedom, the designers and technicians came forth with ideas they’d been bottling up for years; they were all in on the creative process. When I looked up his credits as a cameraman, the name “Mad Love” rang a bell; I closed my eyes and visualized it, and there was the Gothic atmosphere, and the huge, dark rooms with lighted figures, and Peter Lorre, bald, with a spoiled-baby face, looking astoundingly like a miniature Orson Welles. Hearst and Louella Parsons had set her up for it, and she became the victim of “Citizen Kane.” In her best roles, Marion Davies was a spunky, funny, beautiful girl, and that’s apparently what she was and why Hearst adored her. Even a number of those who worked on “Kane,” such as Houseman and Dorothy Comingore, have observed that the film seems to improve with the years. In the case of the cinematographer, Gregg Toland, the contribution goes far beyond suggestions and technical solutions. The Citizen Kane book : Raising Kane. Paperback $25.00 $ 25. It can be the result of a fortunate collaboration, of cross-fertilizing accidents. Kane’s dialogue is often almost Hearst verbatim; in the margin of the script that Mankiewicz lent to Charles Lederer one of Hearst’s lawyers annotated Kane’s speech beginning, “Young man, there’ll be no war. I think just the opposite—that his directing style is such an emanation of his adolescent love of theatre that his films lack a vital unifying element when he’s not in them or when he plays only a small part in them. Extraordinary movies are the result of the “right” people’s getting together on the “right” project at the “right” time—in their lives and in history. It’s the Gothic atmosphere, partly derived from Toland’s work on “Mad Love,” that inflates “Citizen Kane” and puts it in a different tradition from the newspaper comedies and the big bios of the thirties. No doubt (as Houseman admits) Mankiewicz had drawn upon everything available about Hearst, in addition to his own knowledge, and no doubt the Lundberg book, which brought a great deal of Hearst material together and printed some things that had not been printed before, was especially useful, but John Dos Passos might have sued on similar grounds, since material that was in “U.S.A.” was also in the movie, and so might dozens of magazine writers. Directed by Orson Welles. I was still uncomfortable during the visit to Jed Leland in the hospital; Leland’s character throughout is dependent on Joseph Cotten’s obvious charm, and the sentimental-old-codger bit in this sequence is really a disgrace. Toland was a disciplined man, and those who worked on the set say he was a steadying influence on Welles; it is generally agreed that the two planned and discussed every shot together. No. “American” (and, to a lesser degree, “Citizen Kane”) was a there-were-giants-in-those-days valedictory to the old-style big scoundrels. Mankiewicz had been hacking out popular comedies and melodramas for too long to write drama; one does not dictate tragedy to a stenotypist. If one asks how it is that Herman J. Mankiewicz, who wrote the film that many people think is the greatest film they’ve ever seen, is almost unknown, the answer must surely be not just that he died too soon but that he outsmarted himself. Anyway, it wouldn’t have explained anything. Includes index. by Pauline Kael, Herman J. Mankiewicz, et al. Mank even goes beyond Kael to portray Welles as an overhyped charlatan as a director. (The convention remains, having absorbed the “Dolce Vita” variation that the rich use each other sexually because they are incapable of love.) The worst aspect of the factory system was that almost everyone worked beneath his capacity. 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