May 1941. Eight decades on, the deification of CITIZEN KANE as "the greatest movie of all time" is doing it no great favors, at least in terms of persuading people to actually watch it. The title suggests a ponderous art film that will feel like homework, which some of its fans try to counter by claiming that its moody deep-focus cinematography and Bernard Hermann score make it some kind of early film noir. Neither of those things is true: CITIZEN KANE is essentially an impish pastiche of the rise-and-fall-of-the-great-man variety of Hollywood biopics, dressed up with (and held together by) a series of shameless narrative contrivances, some memorably witty dialogue, and as many inventive cinematic gimmicks as Welles could squeeze into the two-hour running time. It is, like the radio shows Welles and his Mercury Theatre company had been doing for about two and a half years beforehand, aggressively middlebrow: As Welles himself later admitted, the story really isn't that deep, but it gives the impression of depth, just as some of the clever framing devices create the illusion of a bigger cast and larger budget.
If you take it seriously, KANE, like a lot of later Welles films, is fun for a while and becomes rather dour toward the end, but taking it seriously is a mistake, and the dourness is itself a contrivance. This is a story about an old man's tragic regrets … as imagined by a 25-year-old in a bald cap and padded suit who'd made his name on the legitimate stage, where no death scene is too final to prevent a star from taking his bows after the curtain falls. It's a game, like a cat losing its mind chasing down and vanquishing a new catnip mouse, and the finale, where the plot's central contrivance comes full circle, has that same tail-in-the-air sense of triumph.
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Herman and Joseph Mankiewicz with their father Franz.
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Custom magazine artwork of Tom Burke as Orson Welles for the publicity campaign of the film Mank in 2020, created by Watson.
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Mank (2020) dir. David Fincher
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1924.
A bad review for young Herman Mankiewicz.
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What I’m watching (2024 Edition) || Mank (2020)
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The Best Best Original Screenplay Tournament, Round 3/Elite 8
Just like the upcoming Tonys will be, our little bracket isn't scripted (ain't no scabs here!). But we're still offering plenty of drama, like Dog Day Afternoon's upset over top-seed Pulp Fiction, or The Usual Suspects pulling ahead of Everything Everywhere All At Once in a tight contest!
What will happen in Round 3? Your votes decide!
All polls live for one week. Bracket seeded by IMDb rating.
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Orson Welles and Herman Mankiewicz together in the 1940s. They both won the Best Original Screenplay Oscar for CITIZEN KANE (1941)
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