"[6]:255, Questions over the authorship of the Citizen Kane screenplay were revived in 1971 by influential film critic Pauline Kael,[4]:494 whose controversial 50,000-word essay "Raising Kane" was printed in two consecutive issues of The New Yorker and subsequently as a long introduction to the shooting script in The Citizen Kane Book. He was fighting for his life. For comparison purposes, author Harlan Lebo summarizes the plot of the original script, which "varies greatly from the finished film". By RAY KELLY. You never felt you were basking in the warmth of his friendship. Citizen Kane, widely considered the greatest film ever made, continues to fascinate critics and historians as well as filmgoers. 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. [5]:238 Dated July 16, 1940, the final shooting script was 156 pages. "A neurotic drinker and a compulsive gambler, he was also one of the most intelligent, informed, witty, humane and charming men I have ever known. Welles was invited to celebrate Huxley's birthday at a party where the consensus was that the book could never be made into a film due to Hearst's influence. [9]:185 Forty-four revision pages dated April 28 were given to Welles. [l][m][28] The article included the revelation that Kael used the research and interviews of Dr. Howard Suber, an assistant professor at UCLA where she was then a guest lecturer, without ever crediting him. Mank saw him simply as an egomaniac monster with all these people around him. He also said that he thought the audience would not understand the film. [2]:32[13]:221 Welles wanted the work done as inconspicuously as possible,[11]:17 and the ranch offered the additional advantage of prohibiting alcohol. He teaches and writes on film, American literature, and interdisciplinary approaches to literature. 2d ed. . ", Academy Award for Best Writing (Original Screenplay), "Joseph Campbell and Jean De Blasis Interview", "Citizen Kane Remembered [May–June 1969]". Officially, Houseman was there as an editor. … Welles added the narrative brilliance—the visual and verbal wit, the stylistic fluidity, and such stunningly original strokes as the newspaper montages and the breakfast table sequence. But, you know, when the bitterness wasn't focused straight at you, he was the best company in the world. ©2000-2021 ITHAKA. He was a performer, as I think all very successful personalities are. [10]:484 By late January their disagreements over plot details were more frequent and their collaboration less creative. [5]:235 Welles later said the germinal idea was to create a posthumous portrait of a man through many points of view, in the recollections of those who knew him. The first two drafts of the Citizen Kane script were written by Her- The official screenplay for Citizen Kane is credited to Herman J. Mankiewicz and Orson Welles, but there's an ongoing rumor that Orson Welles didn't write the screenplay for Citizen Kane, which seems nuts and is hard to prove. 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]:245–246 Mankiewicz testified in a court proceeding a few years later[specify] that the idea for the film began with a March of Time-style sequence that set out the life of a particular character whose life would then be the subject of the film. The Making of Citizen Kane. Screenwriter Herman J. Mankiewicz was a notorious personality in Hollywood. And people loved him. Using shooting schedules, storyboards, and other studio documents, Carringer, author of The Making of Citizen Kane ( LJ 7/85), has reconstructed the original script, allowing readers to experience Ambersons as Welles envisioned it. The Making of Citizen Kane: Amazon.de: Carringer, Robert: Fremdsprachige Bücher Wählen Sie Ihre Cookie-Einstellungen Wir verwenden Cookies und ähnliche Tools, um Ihr Einkaufserlebnis zu verbessern, um unsere Dienste anzubieten, um zu verstehen, wie die Kunden unsere Dienste nutzen, damit wir Verbesserungen vornehmen können, und um Werbung anzuzeigen. [5]:235 Over the next five weeks Welles spent many long evenings brainstorming plot ideas in the bedroom of the small rented house where Mankiewicz was in traction with his shattered leg. "[17]:111 Hill said that even as a boy Welles was interested in the lives of the controversial tycoons: "He sensed, even then, the theatrical impact that could be gained in assaulting, and possibly toppling, giants," wrote Brady. Mankiewicz proved very useful, particularly working with Houseman as editor,[6]:240–242 and wrote five scripts for Campbell Playhouse shows broadcast between November 12, 1939, and March 17, 1940. 2d ed. When he came back, we were enemies," Welles told biographer Richard Meryman. The making of Citizen Kane. [6]:237 Mankiewicz was enraged when an August 1940 column by Louella Parsons quoted Welles as saying, " … and so I wrote Citizen Kane. Pauline Kael first raised the issue in a flamboyant piece in The New Yorker in 1971. That terrible vulnerability. In fact, the answers to all this were nailed down long ago, by Robert L. Carringer in his 1978 article “The Scripts of Citizen Kane” (which became absorbed into his riveting book “The Making of Citizen Kane,” published in 1985) and by sources like Peter Bogdanovich in his eye-opening 1972 Esquire magazine piece “The Kane Mutiny.” [5]:236–237 Welles hesitated to officially agree to give Mankiewicz credit. Rosenbaum also reviewed the controversy in his editor's notes to This is Orson Welles (1992). Who wrote Citizen Kane ? ", For the next five weeks Mankiewicz wrote the first draft of the script for MGM's. [5]:237 Houseman was to serve as editor, Carringer noted, "but part of his job was to ride herd on Mankiewicz, whose drinking habits were legendary and whose screenwriting credentials unfortunately did not include a reputation for seeing things through." "[4]:54 In February 1940,[3]:444, 448 Welles arranged a lunch at New York's 21 Club and persuaded Houseman to return to California. In September 1939[6]:244 Welles visited Mankiewicz while he was hospitalized in Los Angeles after a car accident, and offered him a job writing scripts for the Mercury Theatre's show on CBS radio, The Campbell Playhouse. Mankiewicz also threatened to go to the Screen Writers Guild and claim full credit for writing the entire script by himself. 2 (Winter, 1978): 369-400.. https://doi.org/10.1086/447995 "[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. He never wrote a word. Please notify me if you encounter a stale link. [9]:55, 184–185 "Orson was from Chicago," said the Mercury Theatre's Richard Wilson, "and I believe he was as much influenced by Samuel Insull and Colonel Robert McCormick as he was by the figure of Hearst. [5]:218–219 How much Huxley's book influenced Welles's choice of subject is unknown; Brady wrote that "a more personal coincidence, however, might have helped fuel the idea." Only four of the five scripts reached the air: "The Murder of Roger Ackroyd", "Dodsworth", "Vanity Fair" and "Huckleberry Finn". … The final version of the screenplay … was drawn from both sources. Citizen Kane is a 1941 American mystery drama film by Orson Welles, its producer, co-screenwriter, director and star. Leaming notes, "This assertion will seem odd to anyone who has examined Houseman's personal papers deposited at UCLA. Like that of Citizen Kane, the play’s plot is structured around a journalist attempting to understand Brown by interviewing people who knew him and have different perspectives on him. "[15]:80, Carringer found that the issues raised by Kael rested on the evidence of an early draft of the screenplay, primarily written by Mankiewicz,[15]:80 which "elaborated the plot logic and laid down the overall story contours, established the main characters, and provided numerous scenes and lines that would eventually appear in one form or another in the film. Berkeley: University of California Press, 1996. He teaches and writes on film, American literature, and interdisciplinary approaches to literature. The journal"s broad focus creates juxtapositions and conceptual connections that offer new grounds for theoretical debate. As a teenager in 1932 he wrote a play about the life of abolitionist John Brown called Marching Song. 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