Raising Kane and other Essays offers the best of Pauline Kael's more extended meditations on the movies, including the full text of her controversial account of the making of Citizen Kane, still considered by many to be the greatest motion picture ever made. It was a sensational essay that asserted Welles stole credit from Mank, who had dictated the original drafts of the script to his secretary, Rita Alexander, while Welles was not present. (#2 in the 2002 Book Challenge) This is the reprint in book form of Pauline Kael's 1971 New Yorker piece entitled Raising Kane. Welles condensed it. Charles Foster Kane is a kind of Walter Burns to Jed Leland’s Hildy Johnson; but equally, behind the scenes, Orson Welles as director is a kind of Burns to Mankiewicz’s Hildy. The nearly 80-year-old argument that will never die, just slumber for years before being shaken awake again.”, The other critic agrees that Fincher’s film “does make that argument. Raising Kane by Pauline Kael found a ton of success with movie buffs and casual readers alike. In an interview with Vulture, even Fincher offered a gentle critique of Kael. So a two-coasts tension—the East of old money and old power, the West of energetic upstarts—is intrinsic, of only by implication, to the evolving story of Charles Foster Kane and the movie that nears his name. This was in the mid-1920s, and 15 years later we see him sitting down to write a screenplay about the newspaper world he had left, an affectionate portrayal, if larded with cynicism—but, and for Kael this is the key point, it is a screenplay, a script for a movie. Contents: Raising Kane / by Pauline Kael --The shooting script / by Herman J. Mankiewicz and Orson Welles --Notes on the shooting script / prepared by Gary Carey --RKO cutting continuity of the Orson Welles production, Citizen Kane. This comment so outraged Kael that she declared she would never return to UCLA until Suber apologized to her—a declaration that comes from somewhere well on the far side of chutzpah. She celebrated Citizen Kane on just these grounds: thus her insistence that Welles is not the auteur of Kane but rather the primus inter pares, the first among equals in its making. M uch of what Pauline Kael had to say in ‘Raising Kane’ (1971), her long article in the New Yorker, got lost in the controversy it created.One of her aims was to draw attention to Herman Mankiewicz’s role in writing the screenplay for Citizen Kane (1941), and therefore in the success of the film. Raising Kane An essay on Orson Welles’ (and/or Herman Mankiewicz’s) 1941 film Citizen Kane. Kael seemed to base most of the “Raising Kane” argument off an early draft, he stated. Here’s a fact worthy of our reflection: there are millions of people who have never seen Citizen Kane and know nothing about the film but are very familiar with one brief sequence, because it has become a meme: Kane’s defiant standing and clapping for his wife Susan after her disastrously bad operatic performance. And you’d be wrong to do so—just as you’re wrong now.”, In Michael Chabon’s novel The Amazing Adventures of Kavalier and Clay, Joe Kavalier—a young Jewish refugee from Prague living in New York City and beginning a career as an illustrator of comics—goes to the theater to see Citizen Kane. Wikipedia Citation. If you watch the first few minutes of His Girl Friday and then the newsroom scene in which Thatcher confronts Kane, the kinship is obvious and strong. Ben Mankiewicz on CBS: “The debate over who wrote Citizen Kane has been raging for decades. “The son strongly supports the findings of Pauline Kael, who famously minimized Welles’ contributions to the writing of the film in ‘Raising Kane’, a lengthy essay that originally ran in The New Yorker in 1971. Jed Leland may work for his friend Charlie Kane, he is clearly of a different social class. Why does Kane do this? Walter Burns of The Front Page is not a careful, responsible, fact-checking journalist: he’s a guy trying to sell papers by any means necessary. Kael promised to name Suber co-author of the article: that’s how she got him to share his massive trove of interviews of people involved in their making of Kane. “Raising Kane” itself bears the by-line of Pauline Kael and of Pauline Kael alone. The piece, titled “Raising Kane,” drew heavily on the opinions of Welles’ former Mercury Theatre co-producer John Houseman, who downplayed Welles’ contributions to the script. & Kael, Pauline. Two clichés make us laugh. (He later commented that he found the whole episode distressing that he just wanted to put it behind him.) By Pauline Kae l. February 20, 1971. ), That is indeed a memorable moment, but it only makes sense, dramatically, in light of an enormously complex scene that comes a few minutes before it. “When all the archtypes burst in shamelessly, we reach Homeric depths. Please see Wikipedia's template documentation for further citation fields that may be required. After THE END we see a title card announcing: “Most of the principal actors in CITIZEN KANE are new to motion pictures. Bitter, Derelict Mom. And, borrowing from Pauline Kael’s discredited 1971 New Yorker article “Raising Kane,” it accuses him of being a credit thief. And to say that would not be wrong. Most viewers of Kane will remember that the film concludes in Kane’s great mansion Xanadu, stuffed with a lifetime’s hoarding of what the fake newsreel from the start of the film calls “the world’s loot”: paintings, sculptures, furniture, jigsaw puzzles—and a child’s sled with the word “Rosebud” stenciled across it. “Raising Kane” itself bears the by-line of Pauline Kael and of Pauline Kael alone. My grandfather had a long first draft. Rather, “something has spoken in place of the director.” Something that arises from the reunion of the clichés, something that the makers of the film had the shrewd wisdom not to keep out or even control. Mank “makes the implicit argument that Welles didn’t deserve co-screenplay credit,” says one. Partially drawing upon research by UCLA film professor Howard Suber, Kael sang the praises of screenwriter Herman J. Mankiewicz as the principal author of the Kane screenplay, and in so doing tarnished the contributions of director-cowriter and star Orson Welles. Without the brooding shadows and bold adventurings of the camera, without the theatrical lighting and queasy angles, it would have been merely a clever movie about a rich bastard. To her fellow film critics—the ones who vote for Kane in “best film ever” polls—she says, implicitly, “Welles is no auteur, and Kane is not the kind of film you think it is. : Herman Mankiewicz, A.B. (E.g. He did, though, make the rather mild comment to Peter Bogdanovich that before publishing her argument Kael certainly should have interviewed Welles. ALL EXPENSES PAID. Welles thought so too. The same cannot be said for Kael’s subsequent takedown of Citizen Kane and Welles. These actors are “introduced” by small clips from their scenes in the film, followed by their names. For we sense dimly that the clichés are talking among themselves, and celebrating a reunion.” And this, Eco thinks, is not the result of the grand design of an auteur. But it’s called Mank and not Orson…I felt like [this] was okay in context.”, From a 2.28.16 Lou Lumenick N.Y. Post story, titled “My dad wrote Citizen Kane — not Orson Welles.”. Raising Kane (1971) By Pauline Kael - Roger Ebert and Peter Bogdanovich both mentioned this book in their respective Citizen Kane commentary tracks, so I decided to pick it up. Exactly like it is, like it or not.”, “It’s clearly apparent he doesn’t give a shit what the Powers that Be think, and that’s a good thing.”, Director (The Punisher), Writer (Armageddon, The Rock), “So when I said I’d like to leave my cowboy hat there, I was obviously saying (in my head at least) that I’d be back to stay the following year … simple and quite clear all around.”, “If you’re in a movie that doesn’t work, game over and adios muchachos — no amount of star-charisma can save it.”, “Some Like It Hot” Is A Four-Song Musical, “Good Terminator” vs. The ironies are irresistible—or were to Kael, which shows us that if Sarris and Bogdanovich were surely tempted to engage in some motivated reasoning about the composition of the Kane screenplay, Kael was too. In early 1971 Pauline Kael published a pair of essays in the New Yorker about Citizen Kane, on the 30th anniversary of that film’s creation. At one point, Kael says, Mankiewicz wrote a scathing review of a play starring a rich man’s wife, a play that had been put on only with the rich man’s money, but fell asleep over his typewriter before finishing it—a scene reproduced precisely in Citizen Kane. And that is a surprising and generally unacknowledged key to its lasting greatness. It’s been 17 years since I last saw Rafi Pitts‘ Abel Ferrara: Not Guilty. “Frank Mankiewicz — who was Robert F. Kennedy’s press secretary, ran George McGovern’s presidential campaign and co-founded what became National Public Radio — writes in ‘So As I Was Saying…‘ that his father, Herman Mankiewicz, agreed to a shared credit as a favor to Welles. (When I was on Twitter there were several occasions on which I gave and received Kane Claps. Obviously it’s... To judge by this trailer, Ron Howard‘s Hillbilly Elegy (Netflix, 11.24) is a highly charged soap opera about domestic family... © 2004-2018 Hollywood-elsewhere.com / All rights reserved. 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