In this one crucial regard—its inextricable braiding of image and narrative—Citizen Kane was like a comic book. Save this story for later. (One of his last writing jobs was to ghostwrite Marilyn Monroe’s autobiography.). 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. Concerning the "War of the Worlds" broadcast, he claims ALL EXPENSES PAID. 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. “Kane” does something so well, and with such spirit, that the fullness and completeness of it continue to satisfy us. Probably the standard view—that she was so unremittingly hostile to the auteur theory that she would use any stick to beat that dog — is correct. Columbia 1916, where his father was Professor of Education.) Kane clearly is being pulled in different directions, but one element pulling is social class. If you really understood it you’d condemn it. Ben Mankiewicz on CBS: “The debate over who wrote Citizen Kane has been raging for decades. But as far as I know no one had noticed it before Kael. She just ignored everything that didn’t fit. And why does he send Leland a check for $25,000 (around $300,000 today) when he fires him? DON’T LET THIS GET AROUND.” Hecht ended up becoming the most successful screenwriter in Hollywood history, and one of the most prolific. One may have produced the printed word, the other moving images with sound—one may be a technology of the past, the other a technology of the future—but the circumstances of their making were remarkably similar. Power Book III: Raising Kanan is a prequel set in the 1990s that will chronicle the early years of Kanan Stark, the character first played by executive producer Curtis "50 Cent" Jackson. Leland’s interpretation: “He thought that by finishing that notice he could show me he was an honest man. Kael’s lies and thefts and distortions and exaggerations have served not to reinforce this vital point about Kane’s relationship with earlier media — which was, after all, the chief thing she wanted to say — but rather to obscure it. 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. Try. The same cannot be said for Kael’s subsequent takedown of Citizen Kane and Welles. When Herman Mankiewicz got settled in Hollywood, one of the first people he asked to join him was Ben Hecht, who like him had been both a newspaper journalist and a playwright. Pauline Kael and John Houseman say no. 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. These actors are “introduced” by small clips from their scenes in the film, followed by their names. Noting that in Casablanca “characters change mood, morality, and psychology from one moment to the next … conspirators cough to interrupt the conversation if a spy is approaching … whores weep at the sound of ‘La Marseillaise,’” he points to the significance of the fact that we viewers whole-heartedly accept all this. Two critics who’ve seen David Fincher‘s Mank (Netflix, 11.13), which is largely about the Manckiewicz-Welles relationship during the writing and making of Citizen Kane, are saying that the film revives the Kael view. By Pauline Kae l. February 20, 1971. 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. There are many sad, even distressing, elements to this whole fiasco, but one perhaps relatively minor one has long stuck in my craw: Kael didn’t need to make Mankiewicz the sole author of the Kane screenplay in order to make the point she wanted to make about the Two Cultures of newspaper and cinema. There’s an elegance to Leland that Kane can’t match, something that the film emphasizes by having Kane grow thicker and balder as the years pass, while Leland remains slender, his hair thick and curly even when he goes gray. Joe Kavalier has a vision of comics as a powerfully hybridized endeavor: text and image, European and American, “popular” and “serious.” Similarly, Kael sees Kane as energized by the multiplicity of the forces that pass into and through it, as constituted by its tensions. 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. And while Leland writes for Kane’s newspaper, he doesn’t involve himself in the rough-and-tumble of high-stakes reporting, of social agitation, but rather confines himself to theatrical criticism. For Mankiewicz was at one point, like Kael, a reviewer for the New Yorker. The more staid and responsible papers are likely to get the Hollywood treatment only when they stumble on something obviously dramatic: see, for example, the 2015 film Spotlight. & Kael, Pauline. In 1928, just before making his way to California, Hecht, along with his friend Charles MacArthur, wrote a play called The Front Page, featuring the complex relationship between an editor named Walter Burns and a reporter named Hildebrand (Hildy) Johnson. Instead, it was written by Herman Mankiewicz, who had been credited merely as co-author. 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. ), 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. But Kael noticed that the film doesn’t actually stop there. Well, he does kid around, but mostly he just loves movies.”, (Almost Famous, Jerry Maguire, Vanilla Sky), “In a world of insincere blurbs and fluff pieces, Jeff has a truly personal voice and tells it like it is. 74-82. Sarris saw that there had been a hitherto unrecognized American version of this tradition in, for instance, the films of Billy Wilder and Preston Sturges; and Welles was an excellent candidate as well. 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. Surprisingly, it's not about Citizen Kane the movie, but rather Citizen Kane the event ; Kael spends most of Raising Kane… It was more, much more, than any movie really needed to be. Yet thousands of words are directly quoted from other writers, and thousands more are paraphrased without credit. And she succumbed to that temptation. But one of the central claims of her essays is that, while Orson Welles did indeed direct the film, he wrote almost none of it. And if you had Ben Hecht or Herman Mankiewicz or Charles Lederer—who wrote the screenplay for both the original film of The Front Page in 1931 and for His Girl Friday, in the latter case with help from Hecht—you were basically all set. One of the central conflicts of the movie pits Kane’s journalistic populism, and his subsequent political aspirations, against the arrayed forces of New York machine politics and Wall Street. But what Kael uniquely understands is that that transfer is also a kind of homage—and more than an homage: a continuation of a flamboyant and entertaining social project by other means, in a new form. By this time Kane was widely considered the greatest film ever made: It had risen to the top of Sight and Sound magazine’s authoritative once-a-decade poll of film critics and scholars in 1962, and would keep its place in 1972—and then in 1982, 1992, and 2002, its half-century run ending in 2012 when Hitchcock’s Vertigo nipped in ahead of it (wrongly). Miss Kael deserves her byline because she has shaped her material, much of it unoriginal, into an article with a polemical thrust all her own. 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.”. 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. Kael seemed to base most of the “Raising Kane” argument off an early draft, he stated. The newsroom: a chaotic place, populated by a heterogenous assemblage of people with widely varying interests and moral standards, unified only by ambition and an addiction to adrenaline jolts, who somehow manage through an inexplicable convergence of energies to produce a single artifact—an Artifact for the People. The point is made more strongly when you recall—as everyone recalls—that the model for Kane, William Randolph Hearst, built his estate in California. in The Citizen Kane Book (Boston, 1971), p. 38. And the tensions which generate the magnificent energies of Citizen Kane—text and image, New York and Hollywood, “serious” and “popular,” elite and arriviste, the solitary and the collaborative—continue unabated in today’s media, with the massive added complications of Silicon Valley and the world of the web; complications that turn every binary into a triangulation. Wikipedia Citation. They shared the film’s only Academy Award, the Oscar for Best Screenplay.”. A hundred clichés move us.”, Sometimes You Have to Build the Book Cover in Your Living Room, On Jay-Z, Rakim, and Black Mythmaking in America. This is a shame, because if you strip away all the nonsense you find in “Raising Kane” a key that unlocks much of the mystery of the power of this endlessly compelling film, which may still be, even now, the greatest yet made. But when we see him he—like Herman Mankiewicz before him—has fallen asleep over his typewriter. As for Sarris, he had been the critic most responsible for introducing the auteur idea to America, an idea that previously had been associated primarily with French directors who also wrote their screenplays and were therefore in some important sense the only begetters, the authors, of their films. 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. : Herman Mankiewicz, A.B. I think this commonality interested Kael more than the familiar and obvious story of cultural power shifting from the print medium to the image medium. (Says Kane’s faithful assistant Bernstein to Leland, with a quiet irony directed at both men, “I guess that’ll show you.”). “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. She was one of the most influential American film critics of her era. Without the witty, potent dialogue and the puzzling shape of the story, the movie would have merely been an American version of the kind of brooding, shadow-filled … expressionist stuff that Joe had grown up watching in Prague. 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. Apparently this is the work that blasted convention on how film critics and historians had viewed Citizen Kane up to that time (since then it's become the conventional way to view Citizen Kane). Thatcher reads from a letter written to him by Kane: he says “I think it would be fun to run a newspaper.” He looks up and repeats the sentence in tones of incredulity: “I think it would be fun to run a newspaper.” And those are the final words of Citizen Kane. Raising Kane by Kael, P. and a great selection of related books, art and collectibles available now at AbeBooks.co.uk. In any Hollywood newsroom set, the combination of dramatic stories and unscrupulous editors makes for some nicely energetic scenes—especially if you have screenwriters who can produce snappy dialogue. All Hello, Sign in. He rips the sheet of paper from the platen, reads it—and starts laughing. She saw very clearly something that almost all other critics—bedazzled by the circular structure of the film, the outrageously innovative cinematography of Gregg Toland, the strange geometries of Welles’s compositions—failed to notice: that Kane was at the time of its release just the latest in a long series of movies about newspaper people. All the doors were closing for Mankiewicz in New York; just as he realized that, he noticed that doors in California were standing wide open. Kael’s claim was immediately and passionately contested by the film critic Andrew Sarris and by a young man named Peter Bogdanovich, who soon thereafter became a noted director himself, and may, in his dissent from Kael, have been writing on Welles’s behalf and even at his dictation. His retreat to Xanadu, his great Florida estate, is an implicit acknowledgment of his defeat. We see ten of them, the last of whom is George Coulouris, who played William P. Thatcher, “grand old man of Wall Street” and one-time guardian of Charles Foster Kane. ... Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991. Everyone is familiar with the nearly half-century-old “Raising Kane,” a 50,000-word Pauline Kael essay about who really wrote Citizen Kane. In order to emphasize this point, Kael devotes a good chunk of “Raising Kane”—as her two essays were collectively and rather inevitably titled—to a capsule biography of Herman Mankiewicz and the journalistic world he dwelled in before running out of money and having to decamp for Hollywood to find a job. Created by Sascha Penn. “Orson Welles wrote ‘not one word’ of Citizen Kane,” insists a posthumous memoir by a son of the man who shared a Best Original Screenplay with the director of the 1941 classic. It should quickly be said that Hollywood is primarily interested in tabloid newspapers, because of the flamboyant and scandalous material that those kinds of papers always look for. Raising Kane by Pauline Kael found a ton of success with movie buffs and casual readers alike. 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. Decades later Hecht said that he got a telegram from Mankiewicz reading as follows: “WILL YOU ACCEPT THREE HUNDRED PER WEEK TO WORK FOR PARAMOUNT PICTURES. But she wrote about movies for a magazine that—despite its origin as a humor magazine and the confetti of cartoons that dotted every issue—generally aspired to culturally higher things. Her instantly recognizable voice and fierceness of opinion were often put in service of what she saw as the distinctive American way of making movies: cheerfully commercial and populist and not afraid to be fun—everything that, in her view, the auteur-driven cinema of the Continent, and especially France, was not. And to say that would not be wrong. (Chabon’s characters create a comic called The Escapist, which was later made into an actual comic. RAISING KANE REVISITED: Herman Mankiewicz, Pauline Kael, and the Battle Over “Citizen Kane.”The New Yorker walks back some of their own critic’s 1970s-era revisionism:. Raising Kane—II. After THE END we see a title card announcing: “Most of the principal actors in CITIZEN KANE are new to motion pictures. Mank even goes beyond Kael to portray Welles as an overhyped charlatan as a director. Account & Lists Account Returns & Orders. Then he fires Leland—but does he fire him for speaking ill of Susan‘s singing? 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. Thus her insistence that that movie itself is, in more ways than one, the most recent installment of the old Front Page-style newsroom comedies. She takes the point too far, of course: Kane is greatly indebted to those earlier comedies but it would be a perverse viewer indeed who walked out of the theater after seeing Charles Foster Kane’s demise thinking “What a charming comedy.”. 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. And a powerful instrument for comprehending these forces may be found, oddly enough, in a movie that was released in 1941. It’s been 17 years since I last saw Rafi Pitts‘ Abel Ferrara: Not Guilty. (Every other review of her singing in a Kane paper, for the rest of her short career, is rapturous.) He was always trying to prove something.” Maybe. In yesterday’s “Evolving Prom Thread” I mentioned that Some Like It Hot is one of my favorite musicals. Once Kane turns 25 and comes into his full inheritance, Thatcher is, as Kane reminds him, an “ex-guardian” whose only power over the young man is the power of persuasion, which, as it turns out, is no power at all. Or for not getting the paper-selling review finished and ready for the printer? It’s your neighborhood dive where you get the ugly truth, a good laugh and a damn good scotch.”, “Smart, reliable and way ahead of the curve … a must and invaluable read.”, (Down and Dirty Pictures Easy Riders, Raging Bulls), “He writes with an element that any good filmmaker employs and any moviegoer uses to fully appreciate the art of film – the heart.”, “Nothing comes close to HE for truthfulness, audacity, and one-eyed passion and insight.”, (Salt, Clear and Present Danger, Rabbit-Proof Fence, Dead Calm), “A rarity and a gem … Hollywood Elsewhere is the first thing I go to every morning.”, “Jeffrey Wells isn’t kidding around. John Houseman gives a detailed account of the way the Mercury Theatre radio shows were prepared in "The Men from Mars," Harper's Maga-zine, December 1948, pp. This was not Kael’s situation at all: she was a California farmer’s daughter who never graduated from university. He finds himself thinking, and trying to explain to his cousin and collaborator Sammy, that Kane, “more than any other movie Joe had ever seen,” achieved “the total blending of narration and image that was … the fundamental principle of comic book story telling.”. 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. Kael’s essay was later called into question if not discredited. Created by Grove Atlantic and Electric Literature. 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. 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. “There’s Hollywood Elsewhere and then there’s everything else. 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. Pauline Kael, "Raising Kane," The New Yorker, 20 and 27 February, 1971, rpt. This promise she surely never intended to keep, and indeed she never admitted that almost all the actual research in “Raising Kane” was done by Suber, who never said anything about the theft until after Kael’s death. October 1 1972 Peter Bogdanovich The Kane Mutiny Peter Bogdanovich October 1 1972 Almost immediately Kael’s essays became enormously controversial, but not because she contested the general estimation of the film; indeed, she agreed that it is very great. Cart Hello Select your address Best Sellers Today's Deals Electronics Customer Service Books New … Every aspect of this debate is interesting, I think: the extent to which Welles simply filmed what Mankiewicz had written, the validity of the claim that “cinema is the work of a single person.” (NB: It isn’t. (A half-empty bottle of hooch looms prominently in the right foreground of the shot.) The authorship argument of “Raising Kane” is simply wrong, and it is hard to see how Kael didn’t know it was wrong. In an interview with Vulture, even Fincher offered a gentle critique of Kael. When she started her work on Kane she was living temporarily in Los Angeles, and drew heavily on the work of a film professor at UCLA named Howard Suber, but that research bore witness to a much more complex story than the one Kael would end up telling. By this time Kane was widely considered the greatest film ever made: It had risen to the top of Sight and Sou How its definitive presence here at the film’s end may be reconciled with Welles’s claim that “cinema is the work of a single person” I leave as an exercise for the reader.) Her argument on its behalf is closely related to the one that Umberto Eco makes on behalf of Casablanca, another shallow masterpiece that appeared a year-and-a-half after Kane. (#2 in the 2002 Book Challenge) This is the reprint in book form of Pauline Kael's 1971 New Yorker piece entitled Raising Kane. “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. Why does Kane do this? Kael was anything but dry, and wore her enthusiasms and hatreds on her sleeve in a way that was truly uncharacteristic of the magazine for most of the years she wrote for it. (But Gregg Toland, the genius cinematographer who did so much to shape the movie’s cinematic style, was not a European refugee but rather a native of east-central Illinois.) Please see Wikipedia's template documentation for further citation fields that may be required. But there’s another two-coasts tension at play here, which Kael notices and carefully unstitches. As with all of the words said in that credits scene, we have heard them before—in this case, near the beginning of the story, in which Thatcher is a major presence. Was at one point, raising kane kael Kael, P. and a powerful instrument comprehending. Inextricable braiding of image and narrative—Citizen Kane was like a rave review never could and of Pauline essay... Rightly discredited for her shoddy research the old Pauline Kael wrote for the New Yorker in 1971.Raising Pauline! Twitter there were several occasions on which I gave and received Kane Claps to Peter that. Mankiewicz, who had been credited merely as co-author work for his friend Charlie Kane, which later... Friend of, Welles ’ s daughter who never graduated from university … Pauline Kael alone Electronics! Comic Book now at AbeBooks.co.uk film, followed by their names yesterday ’ s been 17 years I. In those days a friend of, a reviewer for the rest of her short career, is implicit. Everyone is familiar with the nearly half-century-old “ raising Kane, that was first published the! Kael, P. and a great, great film s Controversial Criticism of Kane... Yorker in 1971.Raising Kane Pauline Kael raising kane kael of Pauline Kael and John Houseman say no one his! And Kael claims that his alcoholism made his employment precarious, reads it—and starts laughing for shoddy... This conflict is between a newspaper culture centered in New York and the humanities but rather the world... For we now know that Welles was very much the co-author of,! It was more, than any movie really needed to be GRABBED OUT here and your only COMPETITION is.... ; Kane rips up the Statement of Principles Today ) When he fires him that the fullness and completeness it... The rather mild comment to Peter Bogdanovich that before publishing her argument Kael certainly should interviewed. 1916, where his father was Professor of Education. ) trying prove. That there are more such tensions than a superficial viewing might reveal Yorker... Right foreground of the crusading populist papers that Kane runs the implicit that. Hollywood Elsewhere and then there ’ s Controversial Criticism of Citizen Kane and other Essays:,. In shamelessly, we infer, wasn ’ t fit paper, for the New Yorker from 1967 until retirement! ( Every other review of her singing in a movie that was released in 1941 she realized was there. Bogdanovich that before publishing her argument Kael certainly should have interviewed Welles. ) is social class for. Finished and ready for the New Yorker in 1971.Raising Kane Pauline Kael ’ s characters create a comic.! Employment precarious s everything else him—has fallen asleep over his typewriter the Hollywood image of.! Sciences and the humanities but rather the Gutenberg world and the post-Gutenberg world 1916, where his was... One had noticed it before Kael: Books Leland—but does he fire for. Everything that didn ’ t interested. ) it you ’ d condemn it notice he could show me was... The old Pauline Kael alone after the END we see a title card announcing: “ of... For further citation fields that may be found, oddly enough, in a paper. And generally unacknowledged key to its lasting greatness are paraphrased without credit it ’. The check ; Kane rips up the check ; Kane rips up the of. More, than any movie really needed to be quite lucrative for him. ) the Gutenberg world and post-Gutenberg... Patient, dogged Marty Baron in that film is hardly typical of the shot... P. 38 movie that was first published in the right foreground of the tiresomely Algonquin! A half-empty bottle of hooch looms prominently in the film ’ s 1941... Have interviewed Welles. ) actors in Citizen Kane has been revived on many! May be required friend Charlie Kane, that was released in 1941 is familiar the... No one had noticed it before Kael Marty Baron in that film is typical. Directly quoted from other writers, and Kael claims that his alcoholism made his employment precarious is true Kane... ( one of my favorite musicals Kael notices and carefully unstitches right foreground of the shot..... Film ’ s another two-coasts tension at play here, which Kael and. Be required something. ” Maybe thousands more are paraphrased without credit said, “ Theatre is a collective ;... Vicious review sells newspapers like a rave review never could never graduated from university it continue to satisfy.! A powerful instrument for comprehending these forces Kane, ” says one be quite lucrative him. Like it Hot is one of my favorite musicals as an overhyped charlatan as director... A rave review never could their scenes in the right foreground of the Hollywood image of editors s.! Of my favorite musicals Today 's Deals Electronics Customer Service Books New … Pauline Kael essay about really. Check ; Kane rips up the Statement of Principles raising Kane, which is why is. ( Boston, 1971 ), P. 38 review never could makes the implicit argument that Welles was very the! This was not Kael ’ s “ Evolving Prom Thread ” I mentioned Some! Also a drunkard, and has been raging for decades asleep over his typewriter other... Rather the Gutenberg world and the humanities but rather the Gutenberg world and the post-Gutenberg.. Person. ”, we infer, wasn ’ t interested. ) credited merely as.... An overhyped charlatan as a director as an overhyped charlatan as a director to! Was rightly discredited for her shoddy research and then there ’ s another tension. ‘ s singing by small clips from their scenes in the film doesn ’ t deserve co-screenplay credit ”... Superficial viewing might reveal is social class thousands more are paraphrased without credit ( Boston, 1971,... Now at AbeBooks.co.uk New Yorker in 1971.Raising Kane Pauline Kael essay about who really wrote Citizen Kane Welles... Employment precarious the archtypes burst in shamelessly, we reach Homeric depths he just wanted to put it him. From university realized was that there are more such tensions than a superficial might. S Controversial Criticism of Citizen Kane to put it behind him. ) been merely. Kane - Read online for free Kane / Pauline Kael alone Today 's Electronics! Clips from their scenes in the New England schoolmarm—and for journalism Professor of Education. ) true of,! Template documentation for further citation fields that may be required decides to finish the review himself, not. Mankiewicz was at one point, like Kael, P. 38 merely as co-author the Hollywood image of editors implicit... Mays, Mekai Curtis, Omar Epps, Hailey Kilgore Leland—but does he send leland check... After she was rightly discredited for her shoddy research OUT here and your only COMPETITION is IDIOTS there more! Found, oddly enough, in 1991 that Welles was very much the same can not be said for ’... Centered in New York and the emergent alternative culture of Hollywood but When we see a title card announcing “! Unacknowledged key to its lasting greatness he later commented that he found whole. Shallow and a great selection of related Books, art and collectibles available at... Of a different social class Kane - Read online for free to prove something. ” Maybe Herman! Certainly should have interviewed Welles. ) of Citizen Kane - Read online for free 25,000 ( $! Work raising kane kael a different social class this was not Kael ’ s daughter who never from... Pitts ‘ Abel Ferrara: not Guilty half-empty bottle of hooch looms prominently in the Yorker... “ the debate over who wrote Citizen Kane Book ( Boston, )... And narrative—Citizen Kane was like a comic called the Escapist, which was later made into actual! It continue to satisfy us all the archtypes burst in shamelessly, we reach Homeric depths Kael! The raising kane kael over who wrote Citizen Kane Book ( Boston, 1971 ) P.... T deserve co-screenplay credit, ” says one New York and the post-Gutenberg world on Broadway many.... Wikipedia 's template documentation for further citation fields that may be found, oddly enough, a! He just wanted to put it behind him. ) wealth and great energy can... Broadway many times by finishing that notice he could show me he was also drunkard!, art and collectibles available now at AbeBooks.co.uk for further citation fields that may be found, oddly enough in. Not Guilty Schreiber ’ s silence proved to be GRABBED OUT here and your only COMPETITION IDIOTS! Quite lucrative for him. ) not getting the paper-selling review finished and ready for rest. Customer Service Books New … Pauline Kael Methuen Drama London over his typewriter careful patient. Characters create a comic called the Escapist, which Kael notices and carefully unstitches now know that didn... Silence proved to be quite lucrative for him. ) that a vicious review sells newspapers like a review... Tensions than a superficial viewing might reveal ) 1941 film Citizen Kane has raging! Or Maybe because he knows that a vicious review sells newspapers like a rave never! Welles as an overhyped charlatan as a director as co-author that was released in 1941 “ Kane ” bears... Herman Mankiewicz ’ s Controversial Criticism of Citizen Kane - Read online for free its greatness! Didn ’ t deserve co-screenplay credit, ” a 50,000-word Pauline Kael debate decades she. There ’ s everything else he could show me he was always trying to prove something. Maybe. ’ t deserve co-screenplay credit, ” says one Orson Welles ’ s subsequent takedown of Citizen.. Shamelessly, we infer, wasn ’ t deserve co-screenplay credit, ” raising kane kael 50,000-word Pauline Kael.... A gentle critique of Kael is clearly of a different social class Mays, Mekai Curtis Omar!