In Newsweek, also on March 17, 1941, John O’Hara began his review with. :157–161, "Significantly, no transcripts of Pauline's purported conversations … have survived—perhaps because she took no notes," wrote Kellow. . Being at his table was being at court, and the activities of the notables who were invited there were slavishly chronicled in the Hearst papers. Shed captured his interest like no other woman hed ever met. Maybe you should have seen it with an audience.”, “That doesn’t make any difference,” Cohn replied. Popular ’n satirical. “Well, roomie, probably we should iron out the details before I head on back to your place and start fluffing your pillows. Remember—you’re going to be kicked around, and a lot of the time you’re not going to have enough to eat, but you’re going to get one thing in return. to make you wonder why you are not seeing what I think is as good a picture as was ever made. Clothes rustled. Kael likewise did not interview associate producer Richard Baer, who stated that he himself was "in the room and saw" Welles writing important parts of the script. Published in the print edition of the February 20, 1971, issue. A guest who gulped the cocktail down was sometimes able to swindle another, but this is the only occasion that I can find recorded on which Hearst dropped the rule—a rule that Marion Davies customarily eased by slipping drinks to desperate guests before Hearst joined them but that nevertheless made it possible for Hearst to receive, and see at their best, some of the most talented alcoholics this country has ever produced. Though the political ironies are not clear to young audiences, and though young audiences don’t know much about the subject—William Randolph Hearst, the master jingo journalist, being to them a stock villain, like Joe McCarthy; that is, a villain without the contours of his particular villainy—they nevertheless respond to the effrontery, the audacity, and the risks. In New York, they may have valued their own urbanity too highly; faced with the target Hollywood presented, they became cruder and tougher, less tidy, less stylistically elegant, and more iconoclastic, and in the eyes of Hollywood they were slaphappy cynics, they were “crazies.” They were too talented and too sophisticated to put a high value on what they did, too amused at the spectacle of what they were doing and what they were part of to be respected the way a writer of “integrity,” like Lillian Hellman, was later to be respected—or, still later, Arthur Miller. There is always a time lag in the way movies take over (and broaden and emasculate) material from the other arts—whether it is last season’s stage success or the novels of the preceding decade or a style or an idea that has run its course in its original medium (This does not apply to a man like Jean-Luc Godard, who is not a mass-medium movie director.) Submissions should come only from the actors themselves, their parent/legal guardian or casting agency. don’t go in the executive dining room. (Walter Wanger had put twenty-seven of them to work in groups in succession on the script of Vincent Sheehan’s “Personal History.”) They lived in the city where Irving Thalberg was enshrined; Thalberg, the saint of M-G-M, had rationalized Mayer’s system of putting teams of writers to work simultaneously and in relays on the same project. “When I’m alone in a projection room, I have a foolproof device for judging whether a picture is good or bad. (She married two prodigies in succession; the marriage to Welles had lasted five years and produced a daughter.). It was set for the scene in which Susan leaves Kane (Welles’ wife, Virginia, had brought suit for divorce during the month Welles had his tantrum), and Mankiewicz wrote it up rather floridly and with explicit directions, in a passage beginning, “Kane, in a truly terrible and absolutely silent rage . Any such attempts at suppression would involve a serious interference with freedom of speech and with the integrity of the moving picture industry as the foremost medium of artistic expression in the country. : The final battle between Tyson and Kane begins with a shock. Soon after that I met Herman myself, but I didn’t get to know him until . Welles’ tantrum and how it ended the partnership that had created the Mercury Theatre was the talk of the actors who gathered around Mankiewicz’s bed, and it must have registered on Mankiewicz in a special way: it must have practically thrust on him the recognition of an emotional link between Welles and William Randolph Hearst, whose tantrums had been the stuff of legend among newspapermen for half a century, and whose occasional demonstrations of childishness were the gossip of guests at San Simeon. But movies didn’t suddenly become stagebound because of the microphone. Welles probably made suggestions in his early conversations with Mankiewicz, and since he received copies of the work weekly while it was in progress at Victorville, he may have given advice by phone or letter. ), and it got smashing reviews. ... Kane was by her side in an instant, his hand on her forehead. One of the long-standing controversies about Citizen Kane has been the authorship of the Academy Award-winning screenplay. :206–207 New York Times reviewer Mordecai Richler praised Kael for "cutting Orson Welles down to size, denying his needlessly grandiose claim to having been solely responsible for everything that went into Kane, including the script and photography. By Robert K. Lewis May 13, 2011. Cohn agreed to employ him at $750 a week. . In some crazily naïve way, Mankiewicz seems to have imagined that Lederer would be pleased by how good it was. One may speculate that if the members of the Academy had supported Welles and voted “Citizen Kane” Best Picture of the Year, if they had backed the nation’s press and their own honest judgment, the picture might have got into the big theatrical showcases despite the pressures against it. They were big eaters, big talkers, big spenders, big talents; they were not men of what is ordinarily called “good character.” They were out to get not only Hearst but each other. In 1938, even George S. Kaufman and Moss Hart had taken him to be that; they had written one of their worst maudlin “serious” plays (and a flop )—“The Fabulous Invalid,” a cavalcade-of-the-American-theatre sort of play—and had modelled its hero on Welles. This is John Houseman’s recollection of those events, set down in a letter to Sara Mankiewicz after her husband’s death: I remember so well the day Orson came back to the theatre from 21, telling me he had met this amazingly civilized and charming man. He did not throw them very precisely, it seems; he threw them not so much with intent to hit as in Houseman’s general direction. Download for offline reading, highlight, bookmark or take notes while you read Raising Kane. They became naïvely, hysterically pro-Soviet; they ignored Stalin’s actual policies, because they so badly needed to believe in something. The scope of Welles’ reputation seems to have infuriated Hollywood; it was a cultural reproach from the East, and the Hollywood people tried to protect themselves by closing ranks and making Welles a butt of their humor. Raising Kane - Ebook written by Lorelei James. Walter Kerr goes on to describe the second-act entrance prepared for Walter Burns, the scheming, ruthless managing editor of “The Front Page”: He can’t just come on and declare himself. Plush Puppy while supplies last and look for "Home Alone 2: … They were ambivalent about Hollywood, which they savaged and satirized whenever possible. It had been lunatic before, but Thalberg made it seem mature and responsible to fit writers into an assembly-line method that totally alienated them and took away their last shreds of pride. However, at the beginning of March, Hearst sent for Walter Howey, and no one was sure what they might be poking into. He did the scene just twice, and each time he threw himself into the action with a fervor I had never seen in him. George S. Kaufman was writing the Marx Brothers stage shows when he and Mankiewicz worked together at the Times; a little later, Kaufman directed the first Broadway production of “The Front Page.” Kaufman’s collaborators on Broadway plays in the twenties and the early thirties included Marc Connelly, Edna Ferber, Ring Lardner, Morrie Ryskind, and Moss Hart as well as Mankiewicz—the nucleus of the Algonquin-to-Hollywood group. That Walter Burns whose entrance in “The Front Page” Kerr described was based on Walter Howey, who was the city editor of the Chicago Tribune, at $8,000 a year, until Hearst lured him away by an offer of $35,000 a year. The title “American” suggests how Mankiewicz felt about the project. Welles was dedicated to the company, and he was exciting to work with, so the company stuck together, working for love, and even a little bit more money (Koch was raised to $125 a show) when they got a sponsor and, also as a result of the “War of the Worlds” broadcast, the movie contract that took them to Hollywood. 4:2 And she again bare his brother Abel. Mankiewicz himself was considered one of Hollywood’s premier wits and raconteurs, and he rankled over his banishment. Hollywood paid them so much more money than they had ever earned before, and the movies reached so many more people than they had ever reached before, that they were contemptuous of those who hadn’t made it on their scale at the same time that they hated themselves for selling out. Welles is exactly twenty-three years old.”) In the days before the Mercury Theatre’s weekly radio shows got a sponsor, it was considered a good publicity technique to build up public identification with Welles’ name, so he was credited with just about everything, and was named on the air as the writer of the Mercury show. Welles and Mankiewicz must have enjoyed thinking what a scandal a movie about him would make. MILLIONS ARE TO BE GRABBED OUT HERE AND YOUR ONLY COMPETITION IS IDIOTS. SHERMAN, Texas (KXII) - Raising Cane’s is officially coming to Sherman. . The script for “Citizen Kane” was scrutinized and approved by both R.K.O. Mankiewicz came up with the figure of $30,000, and Mayer offered to advance him that sum on a new contract if he would swear a solemn vow never to gamble again. His agent, Charles Feldman, proposed a post at Columbia. The only religious remark that has ever been attributed to Mankiewicz was recorded on the set of “Citizen Kane”: Welles walked by, and Mankiewicz muttered, “There, but for the grace of God, goes God.”. One may also fairly conclude that Welles, with that grandeur which he seems to have taken over from the theatre into his personal life, was elevating Hearst, lending Hearst some of his own magnitude. They may have told lies in the themes and plots of the thirties comedies, but they didn’t take their own lies seriously, they didn’t believe their own lies, the way they did in the forties. To revisit this article, visit My Profile, then View saved stories. I got the worst grade on my business plan for a college class. New audiences may enjoy Orson Welles’ theatrical flamboyance even more than earlier generations did, because they’re so unfamiliar with the traditions it came out of. Like most of the films of the sound era that are called masterpieces, “Citizen Kane” has reached its audience gradually over the years rather than at the time of release. Currently we have the most updated RAISING KANE coupons among the other discount sites like and we also update the deals based on instagram, and more. Sometimes it seems that his only power is over the interviewers who believe him. “Foible” is the word that Welles’ former associates tend to apply to his assertions of authorship. They’ll tell you it isn’t important, putting makeup on your face and play-acting. Citizen Kane is perhaps the one American talking picture that seems as fresh now as the day it opened. Part I . The night of the New York opening, Mankiewicz came back to the office drunk, started panning Mrs. Insull’s performance, and then fell asleep over his typewriter. Kane parked in the nearly empty hospital parking lot. Like Barry, only better. This page was last edited on 4 January 2021, at 20:01. The 50,000-word essay was written for The Citizen Kane Book (1971), as an extended introduction to the shooting script by Mankiewicz and Welles. The journalists’ style of working fast and easy and working to order and not caring too much how it was butchered was the best kind of apprenticeship for a Hollywood hack, and they had loved to gather, to joke and play games, to lead the histrionic forms of the glamorous literary life. He was so busy with his various other activities that he didn’t always direct the rehearsals himself, either—William Alland or Richard Wilson or one of the other Mercury assistants did it. The Hearst papers banned publicity on R.K.O. Directed by Shigenori Awai, Yoshio Takeuchi. Alva Johnston described the Hollywood attitude toward Welles in an article in the Saturday Evening Post in 1942, the year after “Kane” came out: Big agents soon lost interest in the boy genius. In other words, his base pay was $40,800 his first year and $56,000 his second; actually, he wrote so many stories that he made much more. Mayer called him in and asked him how much money he needed to get financially clear. p. 3 . Cain and Mabel—it was a perfect description of Hearst and Marion. Though it wasn’t until the sixties that the self-hatred became overt in American life and American movies, it started to show, I think, in the phony, excessive, duplicit use of patriotism by the rich, guilty liberals of Hollywood in the war years. Outside the movie business, there has probably never been a writer in the history of the world who got this kind of treatment. But these artists were the exceptions; much of the dreamy appeal to the “subconscious” and to “universal” or “primitive” fantasies was an appeal to the most backward, not to say reactionary, elements of illiterate and semi-literate mass society. In the aftermath of the pressures, and of the disappointing returns on the film, the members of the Academy could feel very courageous about the writing award. Some writers on film—particularly in England—blithely say that Kane wasn’t based on Hearst, using as evidence statements that Welles made to the press in early 1941, when he was trying to get the picture released. Mankiewicz’s jocular account included as the climax “thirty-four weeks in a cast in bed and thirty-two weeks in a brace.” Phipps had a broken collarbone; when it healed, he proceeded on his romantic way to New York. It comes out of a different tradition—the same commercial-comedy tradition that Walter Kerr analyzed so beautifully in his review of the 1969 Broadway revival of “The Front Page,” the 1928 play by Ben Hecht and Charles MacArthur, when he said, “A play was held to be something of a machine in those days. By the time “Citizen Kane” got into Warners’ theatres, the picture had acquired such an odd reputation that people seemed to distrust it, and it didn’t do very well. Those who aren’t businessmen are the Hollywood unreliables—the ones whom, it is always explained to you, the studios can’t hire, because they’re crazy. "But Lederer, apparently, was deeply upset and took the script to his aunt and Hearst. Possibly it was too complexly told to be one of the greatest commercial successes, but we can’t really tell whether it might have become even a modest success, because it didn’t get a fair chance. Apply for a Raising Cane's Shift Manager job in Killeen, TX. Schaefer had staked just about everything on Welles, and the picture looked like a winner, but now Schenck made Schaefer a cash offer from Louis B. Mayer, the head of production at M-G-M, of $842,000 if Schaefer would destroy the negative and all the prints. They didn’t change their ideas when they recanted before the House Un-American Activities Committee; they merely gave in and then were restored to themselves. I used what I wanted of Mank's and, rightly or wrongly, kept what I liked of my own. Schaefer says he had no difficulty persuading Welles to agree to the cut. It was worth another item in the same column that Herman Mankiewicz had been observed “taking his son down Hollywood Boulevard to see the lighted Christmas trees.” In 1931, the Mankiewiczes were so prominent that they were among those who gave Marion Davies a homecoming party at the Hotel Ambassador; the other hosts were Mr. and Mrs. Irving Thalberg, Mr. and Mrs. King Vidor, Mr. and Mrs. Samuel Goldwyn, John Gilbert, Lewis Milestone, Hedda Hopper, and so on. The writing that had given American talkies their special flavor died in the war, killed not in battle but in the politics of Stalinist “anti-Fascism.” For the writers, Hollywood was just one big crackup, and for most of them it took a political turn. Even Kate Cameron, in the Daily News, gave it four stars, and on Sunday, May 4th, Bosley Crowther wrote in the Times, “The returns are in from most of the local journalistic precincts and Orson Welles’ ‘Citizen Kane’ has been overwhelmingly selected as one of the great (if not the greatest) motion pictures of all time. There is a theme that is submerged in much of “Citizen Kane” but that comes to the surface now and then, and it’s the linking life story of Hearst and of Mankiewicz and of Welles—the story of how brilliantly gifted men who seem to have everything it takes to do what they want to do are defeated. In 1960, when Welles was interviewed on British television, he said, “Kane isn’t really founded on Hearst in particular.” I suppose he was feeling rather expansive at that moment, and it may have seemed to limit his importance if his Kane had been based on anyone “in particular.” In the same interview, he said, “You asked me did Mr. Hearst try to stop it. When the Marx Brothers left Paramount and went to M-G-M, he joined them again, in the preparation of “A Night at the Opera,” in 1935, and the same thing happened; he was replaced as supervisor by his old boss George S. Kaufman. Rather astonishingly, Schaefer refused. His old friends say that he would bet from sheer boredom; when he ran out of big sporting events, he would bet on anything—on high-school football games or whether it would rain. Once American films had their voice and the Algonquin group was turned loose on the scripts, the revolting worship of European aristocracy faded so fast that movie stars even stopped bringing home Georgian princes. (It was where the tycoons’ mistresses did sing in the twenties.) The menagerie at Mrs. Campbell’s being scarcely a secret, they had many visitors (Welles himself came to dinner once or twice), and several of these visitors, as well as Houseman and Mrs. Alexander, describe how Herman Mankiewicz turned out the script that became “Citizen Kane.” Mankiewicz couldn’t go anywhere without help; he sat up, in the cast that covered one leg and went up to his middle, and played cribbage with Mrs. Alexander during the day, while telling her stories about Hearst and Marion Davies and San Simeon. With the title of “supervisor” (a term for the actual working producer, as distinguished from the studio executive whose name might appear above or below the name of the movie), he worked on their pictures from the inception of the ideas through the months of writing and then the shooting. I hope. Because of this, Mayer’s long-time friendship for Hearst was probably a lesser factor than the fear that the Hearst press would reveal some sordid stories about the movie moguls and join in one of those recurrent crusades against movie immorality, like the one that had destroyed Fatty Arbuckle’s career. Scott Fitzgerald had already been there for his first stretch, in 1927, along with Edwin Justus Mayer, and by 1932 William Faulkner began coming and going, and from time to time Ring Lardner and Moss Hart would turn up. And not just the Mack Sennett comedies and Keaton and Chaplin kept us fully awake but the spirited, bouncy comediennes, like Colleen Moore and Marion Davies, and the romantic comedy “teams,” and the suave, “polished” villains, like William Powell. She was childless, and Lederer was very close to her; he spent a great deal of his time at her various dwelling places, and took his friends to meet both her and Hearst. He has made the movies young again, by filming them with life. Robert Wise, whom the head of the R.K.O. He probably accepted the work that others did for him the way modern Presidents accept the work of speech-writers. “Citizen Kane” is the story of a wholly fictitious character. Watch full episode of Beyblade season 2 episode 25, "Raising Kane!" But he got bored easily, and when he started cutting up in the middle of preparing “Duck Soup,” in 1933, he was taken off the picture. They had liked to talk more than to write, and this weakness became their way of life. Warners’ (perhaps afraid of exposure and the troubles with their stockholders that might result from a lawsuit) gave in and booked the picture, and the others followed, halfheartedly—in some cases, theatres paid for the picture but didn’t play it. M-G-M had lost money on a string of costume clinkers starring Miss Davies (“Beverly of Graustark,” et al. To quote a classic bit of dialogue from Budd Schulberg’s “The Disenchanted”: “Bane had two hits running on Broadway at the same time. It took guile to get “Kane” approved. Not as his Big Buddy but as his father. In 1919 and 1920, he was the director of the American Red Cross News Service in Paris, and after returning to this country to marry a great beauty, Miss Sara Aaronson, of Baltimore, he took his bride overseas with him while he worked as a foreign correspondent in Berlin from 1920 to 1922, doing political reporting for George Seldes on the Chicago Tribune. The thirties, though they had their own load of sentimentality, were the hardest-headed period of American movies, and their plainness of style, with its absence of false “cultural” overtones, has never got its due aesthetically. Chicago Journal of Commerce (Claudia Cassidy): Anyone who has eyes in his head and ears to hear with will enjoy “Citizen Kane” for the unleashed power of its stature on the screen. There was some primitive justice in this. It may seem even fresher. Directors, in the theatre and in movies, are by function (and often by character, or, at least, disposition) cavalier toward other people’s work, and Welles was so much more talented and magnetic than most directors—and so much younger, too—that people he robbed of credit went on working with him for years, as Koch went on writing more of the radio programs after Welles failed to mention him during the national publicity about the panic. But in the late twenties and the thirties they went to Hollywood. They changed movies by raking the old moralistic muck with derision. A man like Hearst seems to embody more history than other people do; in his company a writer may feel that he has been living in the past and on the outskirts and now he’s living in the dangerous present, right where the decisions are really made. In Hollywood recently, a man who used to be “involved” told me he wanted to become more active again, and added, “But, you know, I’m scared. In the thirties, after the great age of musical comedy and burlesque, Hollywood, except for Paramount, was just discovering huge operettas. When they had written frivolously, knowing that they had no control over how their writing would be used, or buried, or rewritten, they may have failed their own gifts and the dreams of their youth, but the work they turned out had human dimensions; they were working at less than full capacity, but they were still honest entertainers. . "According to Kael, the script was written almost entirely by Mankiewicz, and Welles had actively plotted to deprive him of any screen credit. He became a consultant and expert witness on copyright issues. . There are always a few people in Hollywood who are considered mad dreamers for trying to do in movies things that have already been done in the other arts. ":557, Kael reported that Mankiewicz "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. :494–501, "The major focus of Kael's essay is its defense and celebration of screenwriter Herman J. Mankiewicz as the principal, neglected creative force behind Kane," Rosenbaum wrote. DON’T LET THIS GET AROUND.” A newspaper photograph shows Mankiewicz greeting Hecht, “noted author, dramatist, and former newspaperman,” upon his arrival. (It was to be not the last but the next-to-last collaborative project of Welles and Houseman. Mankiewicz was sent to cover the performance of Gladys Wallis, who was the wife of the utilities magnate Samuel Insull, as Lady Teazle in “School for Scandal.” Mrs. Insull, who had abandoned her theatrical career over a quarter of a century before, was, according to biographers, bored with being a nobody when her husband was such a big somebody. Other screenwriters made large contributions, too, but probably none larger than Mankiewicz’s at the beginning of the sound era, and if he was at that time one of the highest-paid writers in the world, it was because he wrote the kind of movies that were disapproved of as “fast” and immoral. Dorothy Parker, the book reviewer Constant Reader, went West, too. "Unfortunately," wrote Brian Kellow in his 2011 biography of Kael, "she didn't do a great deal of research on the movie itself—partly because she learned that it had already been done. . He includes those tiny pieces in their entirety, and after one of them—the first three sentences of a short story—he comments: I moved to Hollywood soon after I had made this notation and was kept so busy with one thing and another—getting the pool filled, playing the Cadillac and Buick salesmen against each other, only to compromise on a Cadillac and a Buick, after all, and locating the finance company’s downtown office—that the first thing I knew, a story, a good deal like the one I had in mind, appeared in the Saturday Evening Post, and in Collier’s, too. This is the history of movies. "The Deuce" 202 W … :236–237 As the film neared release, however, Mankiewicz began threatening Welles to get credit for the film—including threats to place full-page ads in trade papers and to get his friend Ben Hecht to write an exposé for The Saturday Evening Post. Hearst’s maneuvers were in the true Kane spirit: In January, Hedda Hopper had warned that “the refugee situation would be looked into,” which meant that there would he pressure for a legal review of whether various imported stars and directors should be allowed to remain in the country, and the industry would be attacked for employing foreigners; that is, refugees from Hitler. When Stalinism was fashionable, movie people became Stalinists, the way they later became witches and warlocks. (Schenck, not surprisingly, owned a piece of the biggest movie-advertising agency.) The solution was for R.K.O. Kael, Pauline. must release “Citizen Kane.” If it does not do so immediately, I have instructed my attorney to commence proceedings. ... (This is the first part of a two-part article.) Mankiewicz, hobbling about on a broken leg in a huge cast, was packed off—away from temptation—to Mrs. Campbell’s Guest Ranch, in Victorville, California, sixty-five miles from Los Angeles, to do the script. . “Raising Kane.” The Citizen Kane Book. This was the mold that “The Front Page” was then squeezed into to become “His Girl Friday,” with Cary Grant, Rosalind Russell, and Ralph Bellamy (already a favorite square from “The Awful Truth”) in the same roles, and Rosalind Russell was so obviously playing Adela Rogers St. Johns that she was dressed in an imitation of the St. Johns girl-reporter striped suit. At one time or another, just about all the Hollywood writers had worked for Walter Howey and/or spent their drinking hours with friends who did. Toward the end of the period at the ranch, Mankiewicz began to realize that he’d made a very bad financial deal, and that the credit might be more important than he’d anticipated. the deadline of March 30th for releasing the picture or facing a lawsuit. The toughest-minded, the most satirical of the thirties pictures often featured newspaper settings, or, at least, reporters—especially the “screwball” comedies, which had some resemblances to later “black” comedy and current “freaky” comedy but had a very different spirit. But the Hearst papers worked Mankiewicz over in headlines; they persecuted him so long that he finally appealed to the American Civil Liberties Union for help. Would lose them—sometimes in spectacular ways that became part of Hollywood lore, and Hollywood loves a comeback themselves! Reading, highlight, bookmark or take notes while you ’ re still alive even after the thirties went! 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