Mank liked it, so we started searching for the man it was going to be about. [11]:17 Mankiewicz was to receive no credit for his work as he was hired as a script doctor; a similar clause was present in the writers' contracts for The Campbell Playhouse. "[6]:260 Mankiewicz had made a study of Hearst over many years, and he had firsthand knowledge as one of his frequent guests at San Simeon; but he also drew on published accounts about Hearst for the script. [7]:498, "One of the things that bound his friends to him was his extraordinary vulnerability," Welles told Mankiewicz's biographer. Howard Hughes was the first idea. Welles then "adapted it with the same freedom and disregard for authority with which he adapt[ed] a Shakespeare play or a thriller by Nicholas Blake. Updated February 17, 2020. "[10]:484, During March, April and early May 1940, Mankiewicz dictated the screenplay, titled American. [6]:231 "Mankiewicz, nursing his resentment, had subsequently become obsessed by both Hearst and Davies," Callow wrote, "collecting stories about them the way small boys collect stamps. ", For the next five weeks Mankiewicz wrote the first draft of the script for MGM's. He told Welles that there were "not enough standard movie conventions being observed" and that he disliked the theatricality and lack of close-ups in the film. Moreover, the film was directed by Orson Welles. This academic paper is composed by Samuel. 4 min read. Mank saw him simply as an egomaniac monster with all these people around him. He also transformed Kane from a cardboard fictionalization of Hearst into a figure of mystery and epic magnificence. [7]:132 "It was something [Mankiewicz] had been thinking about for years," Houseman wrote, “the idea of telling a man’s private life (preferably one that suggested a recognizable American figure), immediately following his death, through the intimate and often incompatible testimony of those who had known him at different times and in different circumstances.”[3]:448–449, Welles himself had worked with the concept. Anchoring the flashback-filled story are the months Mankiewicz (Gary Oldman) spends on a ranch in Victorville, Calif., where he works on a draft while recovering from a car crash. "[9]:201[10]:517 When RKO released the film in May 1941, the souvenir program included a double-page spread depicting Welles as "the four-most personality of motion pictures … author, producer, director, star. Discuss to what extent citizen Kane changed film and the golden era of cinema The film was made in 1941 and won best screenplay at the Oscars and was also nominated for best picture, best director, best actor and best cinematography. His contract with RKO stated that the film would be produced, directed, performed and written by Welles, and his "boy wonder" persona had great publicity value for the studio. [6]:215 They were always given the same apartment in La Casa del Monte guest cottage[6]:214—"like a little castle of our own," said Sara Mankiewicz. "That's why I left him on his own, finally," Welles said later, "because we'd started to waste too much time haggling. [4]:499–500[9]:204, One of the long-standing controversies about Citizen Kane has been the authorship of the screenplay. And, … "According to Kael, the script was written almost entirely by Mankiewicz, and Welles had actively plotted to deprive him of any screen credit. The extent of the ingenuity shown by the film Citizen Kane by Orson Welles is so vast that one cannot draw an exhaustive analysis. [34][35], Any question of authorship was resolved with Carringer's 1978 essay, "The Scripts of Citizen Kane". [b][5]:246 "I'd been nursing an old notion," Welles told Bogdanovich, "the idea of telling the same thing several times—and showing exactly the same thing from wholly different points of view. Citizen Kane Movie Analysis 1156 Words | 5 Pages. “Citizen Kane” barely squeaked by at the box office, and won just one of its nine 1941 Oscar nominations — Best Screenplay, for Welles and Mankiewicz. The snow-globe tumbles to the ground and shatters, and a nurse comes in to cover the body. [6]:212–213 By 1936, however, Mankiewicz was no longer welcome in Hearst's circle due to his drinking and political arguments. "[16]:6, But at the same time, Houseman was stirring controversy, lunching with film critic Pauline Kael and giving Mankiewicz total credit for the creation of the script for Citizen Kane. [4]:66[5]:230 When Welles arrived in Hollywood in 1939 everyone was talking about Aldous Huxley's new book, After Many a Summer Dies the Swan, a novel that dealt with the film colony and seemed to be a portrait of Hearst. That terrible wreck. [10]:487 Mankiewicz was advised by his agents, Columbia Management of California, and before he signed the contract it was again made clear that all credit for his work belonged to Welles and the Mercury Theatre, the "author and creator". You never felt you were basking in the warmth of his friendship. "[6]:260, For some time, Mankiewicz had wanted to write a screenplay about a public figure—perhaps a gangster—whose story would be told by the people who knew him. That terrible vulnerability. Mankiewicz made the difference. [5]:236–237 Welles hesitated to officially agree to give Mankiewicz credit. As a teenager in 1932 he wrote a play about the life of abolitionist John Brown called Marching Song. Developing specific editing techniques, Orson Welles constructed the plot from separate fragments and several voices, affecting the spectators’ perception of the plot and emphasizing the impossibility of portraying another personality. “Raising Kane” is a phenomenal work of criticism: Kael does a remarkable job reclaiming those 1930s pictures and their writers, and her analysis of Kane … How fitting that a film about the elusiveness of truth is the subject of endless argument. Citizen Kane : A Film Analysis Of The Movie Citizen Kane 1656 Words | 7 Pages. Review: ‘Mank’ is a movie made to delight critics and cinephiles. He was fighting for his life. So it was his vulnerability that brought the warmth out from the friends. The Citizen Kane script is the most important screenplay of all time, said Leila Dunbar, director of Sotheby’s Collectibles Department. Interspersed with segments of his newsreel obituary are scenes from his life and death. "He always denied it," wrote Carringer, "but coincidences between American and Ferdinand Lundberg's Imperial Hearst are hard to explain." [9]:204–205[19][d], In his earlier years as a journalist, Mankiewicz sought political reporters who kept him up on gossip about Hearst, and he had even started to write a play about him. Welles and Lederer later became great friends. A rich incorporation of the experiences and knowledge of its authors, the film earned an Academy Award for Best Writing (Original Screenplay) for Herman J. Mankiewicz and Welles. Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself. 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