Stanford Libraries' official online search tool for books, media, journals, databases, government documents and more. [h][11]:21, 23. [7]:102 The title was contributed by RKO studio chief George Schaefer,[4]:82 who was concerned that calling the film American would seem cynical and identify too closely with Hearst, whose newspapers included the American Weekly and the New York Journal-American. [Robert L Carringer] Home. "[7]:394, Questions of authorship were further clarified with Carringer's 1978 essay, "The Scripts of Citizen Kane". That terrible wreck. "[6]:257[g] Welles had been editing and rewriting the script pages in Beverly Hills. "[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. Citizen Kane ROBERT L. CARRINGER In 1972, when a group of prominent film critics were asked to list the greatest directors and the greatest films, Orson Welles and Citizen Kane both came in first. ", "The by-line carried only my name," Bogdanovich later wrote, "but Orson had taken a strong hand in revising and rewriting. [4]:359[11]:17–18 Welles re-wrote and revised an incomplete first draft given to him, dated April 16, and sent it back to Victorville. Robert L. Carringer, "The Scripts of "Citizen Kane"," Critical Inquiry 5, no. [7]:504–505[9]:235–236, In late December, the executive board of RKO Pictures all but ordered studio chief George Schaefer to stop paying salaries to the Mercury Productions staff until Welles submitted an acceptable script and set a start date for filming. “Citizen Kane is a film made by a very young man of enormous spirit; he took the Mankiewicz material and he played with it, he turned it into a … [5]:237[6]:252 Author Clinton Heylin wrote that Mankiewicz "… probably believed that Welles had little experience as an original scriptwriter … [and] may even have felt that John Citizen, USA, Welles's working title, was a project he could make his own. Everyday low prices and free delivery on eligible orders. While credit for its genius has traditionally been attributed solely to its director, Orson Welles, Carringer's pioneering study documents the shared creative achievements of Welles and his principal collaborators. He also transformed Kane from a cardboard fictionalization of Hearst into a figure of mystery and epic magnificence. [6]:230 Mankiewicz and Lederer delighted in concocting facsimile newspapers that needled Hearst and his publications, for the amusement of Hearst and Davies. . However, Mankiewicz's assessment of the footage was full of contradictions. . Not coincidentally, it is also the Welles film that has the strongest story, the most fully realized characters, and the most carefully sculpted dialogue. Obviously, lots of people want to claim ownership of the idea. While credit for its genius has traditionally been attributed solely to its director, Orson Welles, Carringer's pioneering study documents the shared creative achievements of Welles and his principal collaborators. Mankiewicz and his wife were part of the social set invited to Hearst Castle on several occasions. He has also contributed "The Scripts of Citizen Kane" to Critical Inquiry But in his hatred of Hearst, or whoever Kane was, Mank didn't have a clear enough image of who the man was. [9]:185 In the last week of February or the first week of March 1940,[11]:17 Mankiewicz retreated to the historic North Verde Ranch[c] on the Mojave River in Victorville, California, to begin working on the script. He implies that American, with only the conventional amount of polishing, was what was filmed. [15]:98, 116 Carringer found clues in the second draft that Welles was guiding the script, and in the third draft he documented Welles's direct involvement[15]:105 and responsibility for the first major revisions. The question was resolved in January 1941 when RKO awarded Mankiewicz credit. "[4]:500[21], In 1969, when he was interviewed for the official magazine of the Directors Guild of America, Houseman concurred with Welles's description of the scripting process: "He [Welles] added a great deal of material himself, and later he and Herman had a dreadful row over the screen credit. 6/19/40 FINAL. [a][7]:98 Houseman and Welles were partners in the Mercury Theatre,[4]:55 but when Mercury productions moved from New York to California the partnership ended and Houseman became an employee, working primarily as supervising editor on the radio shows. 307–325. Who wrote Citizen Kane ? [i][5]:246 Mankiewicz and Houseman were put back on the Mercury payroll[6]:262 June 18 – July 27,[11]:29–30 and continued to help revise the script. [11]:35, Welles called Mankiewicz's contribution to the script "enormous". That was his role, and he played it to the hilt. [9]:204, After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. 369–400. "[15]:115 At that stage of the scripting, Kane was a caricature of Hearst rather than the fully developed character of the final film. "[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. [15]:119 Welles came to suspect that Houseman had turned Mankiewicz against him. He was a performer, as I think all very successful personalities are. [4]:44 He also said that his father and Hearst knew each other. [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. [6]:237 Mankiewicz was enraged when an August 1940 column by Louella Parsons quoted Welles as saying, " … and so I wrote Citizen Kane. "[Welles] claims he wrote a parallel script," Houseman told Leaming. The first two drafts of the Citizen Kane script were written by Herman Mankiewicz and John Houseman in seclusion in the desert at Victorville, California, during March, April, and May 1940. The official credit reads, "Screenplay by Herman J. Mankiewicz and Orson Welles". To access this article, please, Access everything in the JPASS collection, Download up to 10 article PDFs to save and keep, Download up to 120 article PDFs to save and keep. "[3]:447 Orson Welles told Peter Bogdanovich that "Nobody was more miserable, more bitter, and funnier than Mank ... a perfect monument of self-destruction. That terrible vulnerability. Although not all will agree with Carringer's theory that Welles was as responsible for the film's failure as RKO or with his Freudian analysis of Welles's psyche, the film world … "Mankiewicz was hired to furnish him with what any good first writer ought to be able to provide in such a case: a solid, durable story structure on which to build," Carringer wrote. In 1947 Ferdinand Lundberg sued the creators of, Act Three of Houseman's 1972 autobiography, In May 1969 Houseman recorded in his journal that he had a long lunch with Kael, who "seems highly agitated over her 'discovery' of Herman Mankiewicz. He was hired to supervise Mankiewicz as he put a rough draft on paper. The Making of Citizen Kane [Carringer] on Amazon.com.au. [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. Request Permissions. [6]:230 "For the first time Herman's Hollywood pleasure merged with his political scholarship", wrote Meryman. [9]:185, On February 19, 1940, Mankiewicz signed a contract with Mercury Productions to work on the screenplay. raising kael on pauline kael s controversial criticism of. Carringer, Robert. at Script City ($) Citizen Kane Transcript at archive.org; Note: Multiple links are listed since (a) different versions exist and (b) many scripts posted become unavailable over time. [10]:484 In the mid-1930s Mankiewicz had written the first act of an unproduced play about John Dillinger, titled The Tree Will Grow. 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. (For a more definitive look at the creation of Kane, I highly recommend historian Robert Carringer’s meticulously researched 1984 book The Making of Citizen Kane… [4]:359 He would receive $1,000 a week for his work as long as he was not "incapacitated by illness or any other reasons",[5]:236 and would be paid a $5,000 bonus on delivery of the script. The picture was Welles's first feature film. The authorship of the screenplay for Citizen Kane, the 1941 American motion picture that marked the feature film debut of Orson Welles, has been one of the film's long-standing controversies. more… All Herman J. Mankiewicz scripts | Herman J. Mankiewicz Scripts "[6]:168, Welles further said this to Mankiewicz's biographer: "I have only one real enemy in my life that I know about, and that is John Houseman. Loved him. More works of conjecture … have been written on the creation of the screenplay for Citizen Kane than Orson and Herman were ever able to cram between those blue covers. Officially, Houseman was there as an editor. While credit for its genius has traditionally been attributed solely to its director, Orson Welles, Carringer's pioneering study documents the shared creative achievements of Welles and his principal collaborators. Please notify me if you encounter a stale link. Citizen Kane, widely considered the greatest film ever made, continues to fascinate critics and historians as well as filmgoers. With the Victorville script now in hand he cut it by some 75 pages, and added or revised more than 170 pages. While credit for its genius has traditionally been attributed solely to its director, Orson Welles, Carringer's pioneering study documents the shared creative achievements of Welles and his principal collaborators. "The Scripts of Citizen Kane" Any question of authorship was resolved with Carringer's 1978 essay, "The Scripts of Citizen Kane". Pauline Kael first raised the issue in a flamboyant piece in The New Yorker in 1971. Only four of the five scripts reached the air: "The Murder of Roger Ackroyd", "Dodsworth", "Vanity Fair" and "Huckleberry Finn". Citizen Kane, widely considered the greatest film ever made, continues to fascinate critics and historians as well as filmgoers. 13 classic facts about citizen kane mental floss. Mankiewicz was accompanied by a nurse, secretary Rita Alexander, Houseman, and a 300-page rough script of the project that Welles had written. Carringer, Robert L. (1975) ‘“Citizen Kane”, “The Great Gatsby”, and Some Conventions of American Narrative’, Critical Inquiry, 2(2) (Winter), pp. [20]:20 "There were two castes in Hollywood," wrote Meryman, "those who had been guests at San Simeon and those who had not." Robert L. Carringer is an assistant professor of English at the University of Illinois at Urbana-Champaign. "[4]:52–53, Welles admired Mankiewicz, and had met him in New York in 1938[5]:234 at the time of the Mercury Theatre's Broadway successes. This study is the first in a series of essays in progress on American films and American narrative tradition. Published By: The University of Chicago Press, Read Online (Free) relies on page scans, which are not currently available to screen readers. [5]:230, Welles did not know Hearst, but he knew much about him through drama critic Ashton Stevens. The journal"s broad focus creates juxtapositions and conceptual connections that offer new grounds for theoretical debate. The Making of Citizen Kane, Revised edition von Robert L. Carringer (ISBN 978-0-520-20567-3) bestellen. … The final version of the screenplay … was drawn from both sources. 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.” CrossRef Google Scholar. "It was a kind of controlled, cheerful virulence … I personally liked Kane, but I went with that. These pages were given to RKO script supervisor Amalia Kent, who broke the material down in continuity form for the production units. While credit for its genius has traditionally been attributed solely to its director, Orson Welles, Carringer's pioneering study documents the shared creative achievements of Welles and his principal collaborators. He respected Hearst's knowledge and was privileged to be invited to his private office where he mingled with Hearst's editors and columnists. Mankiewicz made the difference. He has also contributed "The Scripts of Citizen Kane" to Critical Inquiry While credit for its genius has traditionally been attributed solely to its director, Orson Welles, Carringer's pioneering study documents the shared creative achievements of Welles and his principal collaborators. The first two drafts of the Citizen Kane script were written by Her- [lower-alpha 15] Carringer studied the collection of script records—"almost a day-to-day record of the history of the scripting"—that was then still intact at RKO. Responsibility: Robert L. Carringer. The fourth draft dated June 18 was the first to be titled Citizen Kane. 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. [5]:236–237 Welles hesitated to officially agree to give Mankiewicz credit. Since its origins in 1890 as one of the three main divisions of the University of Chicago, The University of Chicago Press has embraced as its mission the obligation to disseminate scholarship of the highest standard and to publish serious works that promote education, foster public understanding, and enrich cultural life. [6]:227 A celebrated wit, Mankiewicz was valued for his conversation and was seated near his hosts at dinner. The Making of Citizen Kane. When he came back, we were enemies," Welles told biographer Richard Meryman. This included threatening to post full-page ads in trade papers and getting his friend Ben Hecht to write an exposé about their collaboration in the Saturday Evening Post. Robert L. Carringer, "The Scripts of "Citizen Kane"," Critical Inquiry 5, no. The Making of Citizen Kane, Revised edition Revised Edition by Carringer, Robert L. published by University of California Press (1996) The contract with Mankiewicz left the matter of his receiving credit open; Welles's correspondence with his lawyer indicated that he did not wish to deny credit to Mankiewicz. "Mank always needed a villain. 2 (Winter, 1978): 369-400.. https://doi.org/10.1086/447995 While credit for its genius has traditionally been attributed solely to its director, Orson Welles, Carringer's pioneering study documents the shared creative achievements of Welles and his principal collaborators. "Houseman blandly ignores this fact. [7]:498, "One of the things that bound his friends to him was his extraordinary vulnerability," Welles told Mankiewicz's biographer. The Making of Citizen Kane. Citizen Kane Synopsis: When a reporter is assigned to decipher newspaper magnate Charles Foster Kane's (Orson Welles) dying words, his investigation gradually reveals the fascinating portrait of a complex man who rose from obscurity to staggering heights. [15]:81–82 Welles respected her for her service on the unproduced Heart of Darkness script. … 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. "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. [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. The Making of Citizen Kane, Revised edition de Carringer, Robert L. en Iberlibro.com - ISBN 10: 0520205677 - ISBN 13: 9780520205673 - University of California Press - 1996 - Tapa blanda [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. CrossRef Google Scholar. Herman J. Mankiewicz Herman Jacob Mankiewicz was an American screenwriter, who, with Orson Welles, wrote the screenplay for Citizen Kane. [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. "[10]:484, During March, April and early May 1940, Mankiewicz dictated the screenplay, titled American. "[15]:117, The screenplay for Citizen Kane received the Academy Award for Best Writing (Original Screenplay), shared by Herman J. Mankiewicz and Orson Welles.[35]. CI presents articles by eminent and emerging critics, scholars, and artists on a wide variety of issues central to contemporary criticism and culture, including neo-Darwinism, the Occupy movement, affect theory, and photographic automatism. [15]:21 The RKO legal department warned Welles that it was too close a portrait of Hearst and that if the script was not changed a suit for libel or invasion of privacy was almost certain. Welles's assistant Richard Wilson said that the person who circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles. He teaches and writes on film, American literature, and interdisciplinary approaches to literature. "[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. 372 Robert L. Carringer The Scripts of Citizen Kane (all newly mimeographed) were called "Revised Final," "Second Revised Final," and "Third Revised Final." The mimeographed scripts also have inserted individually dated revision pages, usually on blue paper. The plot device of the unseen journalist Thompson in Citizen Kane is also reminiscent of the unseen Marlow in Welles's proposed film Heart of Darkness, in which the narrator and audience share the point of view. [6]:212–213 By 1936, however, Mankiewicz was no longer welcome in Hearst's circle due to his drinking and political arguments. [9]:185 Forty-four revision pages dated April 28 were given to Welles. The Making of Citizen Kane 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. [11]:26–27 "By far the most serious dramatic problem in American is its treatment of Kane," wrote Carringer. © 1978 The University of Chicago Press Read the latest issue.Critical Inquiry has been publishing the best critical thought in the arts and humanities for almost forty years. 369–400. I gave her all the information I had and will send her more. WorldCat Home About WorldCat ... Heart of Darkness --Scripting --Art direction --Cinematography --Postproduction and release --Collaboration and The Magnificent Ambersons --Outtakes --Production credits. CrossRef Google Scholar. the making of citizen kane revised edition orson welles. [6]:212, Described by biographer Simon Callow as "a keen student of power and its abuses",[10]:484 Mankiewicz was fascinated by Hearst,[6]:212 and Hearst in turn was interested in the former journalist with so much political knowledge. With a personal account, you can read up to 100 articles each month for free. As far as I could judge, the co-billing was correct. 307–325. [6]:264–265, Mankiewicz's rancor toward Welles grew over the remaining 12 years of his life. [20] Kael's unacknowledged primary source was Houseman. [9]:204, Mankiewicz began threatening Welles to get credit for the film. "[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. [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. Citizen Kane, widely considered the greatest film ever made, continues to fascinate critics and historians as well as filmgoers. 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