215:. Mankiewicz was advised by his agents, Columbia Management of California, and before he signed the contract it was again made clear that all credit for his work belonged to Welles and the Mercury Theatre, the "author and creator". Welles hesitated to officially agree to give Mankiewicz credit. 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. Welles's attorney, Arnold Weissberger, did not want to give RKO any cause to break Welles's contract should they wish to promote the film as solely his work. 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.
535:"One of the things that bound his friends to him was his extraordinary vulnerability," Welles told Mankiewicz's biographer. "He liked the attention he got as a great, monumental self-destructing machine. That was his role, and he played it to the hilt. He was a performer, as I think all very successful personalities are. He couldn’t be affectionate or loving outside his family. You never felt you were basking in the warmth of his friendship. So it was his vulnerability that brought the warmth out from the friends. And people loved him.
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eventually appear in one form or another in the film." At that stage of the scripting, Kane was a caricature of Hearst rather than the fully developed character of the final film. Carringer found clues in the second draft that Welles was guiding the script, and in the third draft he documented Welles's direct involvement and responsibility for the first major revisions. "That the subsequent installments are also attributable chiefly to Welles is indicated both by the circumstances and by the nature of the revisions," Carringer wrote.
328:, a novel that dealt with the film colony and seemed to be a portrait of Hearst. Welles was invited to celebrate Huxley's birthday at a party where the consensus was that the book could never be made into a film due to Hearst's influence. How much Huxley's book influenced Welles's choice of subject is unknown; Brady wrote that "a more personal coincidence, however, might have helped fuel the idea." Welles's first wife Virginia moved to Los Angeles shortly after their divorce, and on May 18, 1940, she married screenwriter
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for seeing things through." There was continual communication with Welles, and
Houseman often travelled to Los Angeles to confer with him. Welles visited the ranch occasionally to check on their progress and offer direction. With his own secretary, Katherine Trosper, Welles was reworking the draft pages in Hollywood. These pages were given to RKO script supervisor Amalia Kent, who broke the material down in continuity form for the production units. Welles respected her for her service on the unproduced
181:-style sequence that set out the life of a particular character whose life would then be the subject of the film. 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. "I'd been nursing an old notion," Welles told Bogdanovich, "the idea of telling the same thing several times—and showing exactly the same thing from wholly different points of view. Basically, the idea
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504:." When RKO released the film in May 1941, the souvenir program included a double-page spread depicting Welles as "the four-most personality of motion pictures … author, producer, director, star." Mankiewicz wrote his father, "I'm particularly furious at the incredibly insolent description of how Orson wrote his masterpiece. The fact is that there isn't one single line in the picture that wasn't in writing—writing from and by me—before ever a camera turned."
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484:. Carringer wrote that "in his lengthy account of the Victorville interlude, Houseman gives the impression that Mankiewicz started out with a clean slate, and that virtually everything in the Victorville drafts is Mankiewicz's original invention." Houseman would openly say that Mankiewicz deserved sole credit for writing the film for many years—right up until his death—without explaining the contradictions present even in his own personal papers.
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392:. Welles re-wrote and revised an incomplete first draft given to him, dated April 16, and sent it back to Victorville. Forty-four revision pages dated April 28 were given to Welles. Mankiewicz and Houseman delivered the second draft, bearing a handwritten date of May 9, to Welles after finishing their work in Victorville. Mankiewicz immediately went to work on another project for MGM, and Houseman left for New York four days later.
411:"There is a quality in the film—much more than a vague perfume—that was Mank and that I treasured," Welles said. "It was a kind of controlled, cheerful virulence … I personally liked Kane, but I went with that. And that probably gave the picture a certain tension, the fact that one of the authors hated Kane and one loved him. But in his hatred of Hearst, or whoever Kane was, Mank didn't have a clear enough image of who the
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273:. "It was something 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.”
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amusement of Hearst and Davies. By 1936, however, Mankiewicz was no longer welcome in Hearst's circle due to his drinking and political arguments. "Mankiewicz, nursing his resentment, had subsequently become obsessed by both Hearst and Davies," Callow wrote, "collecting stories about them the way small boys collect stamps."
678:, a definitive study of the scripts by Carringer and remarks in Welles biographies by Leaming and Brady. Rosenbaum's 2020 preface to his earlier essay also references the fact that the 1972 Bogdanovich piece was ghost-written by Welles himself. Rosenbaum also reviewed the controversy in his editor's notes to
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Questions of authorship were further clarified with
Carringer's 1978 essay, "The Scripts of Citizen Kane". 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. He reviewed all seven drafts and concluded that
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Mankiewicz had seen rushes of the film shortly before this and said he was unhappy with the footage. However, Mankiewicz's assessment of the footage was full of contradictions. He told Welles that there were "not enough standard movie conventions being observed" and that he disliked the theatricality
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Mankiewicz (with assistance from
Houseman and with input from Welles) wrote the first two drafts. His principal contributions were the story frame, a cast of characters, various individual scenes, and a good share of the dialogue. … Welles added the narrative brilliance—the visual and verbal wit, the
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as their central character. By late
January their disagreements over plot details were more frequent and their collaboration less creative. "That's why I left him on his own, finally," Welles said later, "because we'd started to waste too much time haggling." In February 1940, Welles arranged a lunch
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shows broadcast between
November 12, 1939, and March 17, 1940. Houseman and Welles were partners in the Mercury Theatre, 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. In
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and received no screen credit. He also continued to work on the script for Welles's picture, sending a partially reworked script in early June that was not used. At this time he obtained a copy of Welles's draft and sent it, with his complaints, to
Houseman in New York. Houseman responded on June 16
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was. Mank saw him simply as an egomaniac monster with all these people around him." Mankiewicz had made a study of Hearst over many years, and he had firsthand knowledge as one of his frequent guests at San Simeon; but he also drew on published accounts about Hearst for the script. "He always denied
403:, with only the conventional amount of polishing, was what was filmed." Welles had been editing and rewriting the script pages in Beverly Hills. With the Victorville script now in hand he cut it by some 75 pages, and added or revised more than 170 pages. "By far the most serious dramatic problem in
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In his earlier years as a journalist, Mankiewicz sought political reporters who kept him up on gossip about Hearst, and he had even started to write a play about him. Soon after moving to
Hollywood in 1926, Mankiewicz met Hearst and Davies through his friendship with Lederer. "There were two castes
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and Welles's mentor and lifelong friend, wrote that Welles once told him about a project he was considering: "He had outlined to me, years earlier, a plan for a stage play based on the life of an
American tycoon who would be a composite of Insull, McCormick and Hearst." Hill said that even as a boy
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to stop paying salaries to the
Mercury Productions staff until Welles submitted an acceptable script and set a start date for filming. Over the next five weeks Welles spent many long evenings brainstorming plot ideas in the bedroom of the small rented house where Mankiewicz was in traction with his
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on several occasions. They were always given the same apartment in La Casa del Monte guest cottage—"like a little castle of our own," said Sara
Mankiewicz. A celebrated wit, Mankiewicz was valued for his conversation and was seated near his hosts at dinner. He respected Hearst's knowledge and was
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Mankiewicz and Houseman worked together in seclusion at the ranch for 12 weeks. Houseman was to serve as editor, Carringer noted, "but part of his job was to ride herd on Mankiewicz, whose drinking habits were legendary and whose screenwriting credentials unfortunately did not include a reputation
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is one of the few Welles projects based on an original story idea rather than an adaption of existing work. "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. Welles
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Carringer found that the issues raised by Kael rested on the evidence of an early draft of the screenplay, primarily written by Mankiewicz, which "elaborated the plot logic and laid down the overall story contours, established the main characters, and provided numerous scenes and lines that would
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On February 19, 1940, Mankiewicz signed a contract with Mercury Productions to work on the screenplay. He would receive $ 1,000 a week for his work as long as he was not "incapacitated by illness or any other reasons", and would be paid a $ 5,000 bonus on delivery of the script. Mankiewicz was to
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After lodging a protest with the Screen Writers Guild, Mankiewicz withdrew it, then vacillated. The question was resolved in January 1941 when RKO awarded Mankiewicz credit. The guild credit form listed Welles first, Mankiewicz second. Welles's assistant Richard Wilson said that the person who
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After he came to agreement with Welles on the story line and character, Mankiewicz was given the job of writing the first draft that Welles could rework. In the last week of February or the first week of March 1940, Mankiewicz retreated to the historic North Verde Ranch on the Mojave River in
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as "a keen student of power and its abuses", Mankiewicz was fascinated by Hearst, and Hearst in turn was interested in the former journalist with so much political knowledge. Mankiewicz and Lederer delighted in concocting facsimile newspapers that needled Hearst and his publications, for the
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Welles called Mankiewicz's contribution to the script "enormous". He summarized the screenwriting process: "The initial ideas for this film and its basic structure were the result of direct collaboration between us; after this we separated and there were two screenplays: one written by Mr.
447:. Mankiewicz and Houseman were put back on the Mercury payroll June 18 – July 27, and continued to help revise the script. Dated July 16, 1940, the final shooting script was 156 pages. "After seven complete revisions, Welles finally had what he wanted," wrote Brady. Carringer summarized:
158:. "I felt it would be useless," Welles said later, "because of Mank's general uselessness many times in the studios. But I thought, 'We'll see what he comes up with.'" Mankiewicz proved very useful, particularly working with Houseman as editor, and wrote five scripts for
231:, to begin working on the script. Welles wanted the work done as inconspicuously as possible, and the ranch offered the additional advantage of prohibiting alcohol. But Mankiewicz went into town daily, with John Houseman and, "was allowed one drink per night at the
790:" claims he wrote a parallel script," Houseman told Leaming. "That's all bullshit. He never wrote a word. I can tell you positively he didn't." Leaming notes, "This assertion will seem odd to anyone who has examined Houseman's personal papers deposited at UCLA."
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came from George Schaefer … It's a great title. We'd sat around for months trying to think of a name for it. Mankiewicz couldn't, I couldn't, none of the actors—we had a contest on. A secretary came up with one that was so bad I'll never forget it:
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is the only major Welles film on which the writing credit is shared. Not coincidentally, it is also the Welles film that has the strongest story, the most fully realized characters, and the most carefully sculpted dialogue. Mankiewicz made the
469:, Houseman concurred with Welles's description of the scripting process: "He added a great deal of material himself, and later he and Herman had a dreadful row over the screen credit. As far as I could judge, the co-billing was correct. The
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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. In the mid-1930s Mankiewicz had written the first act of an unproduced play about
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stylistic fluidity, and such stunningly original strokes as the newspaper montages and the breakfast table sequence. He also transformed Kane from a cardboard fictionalization of Hearst into a figure of mystery and epic magnificence.
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bar". Mankiewicz was accompanied by a nurse, secretary Rita Alexander, Houseman, and a 300-page rough script of the project that Welles had written. The preliminary work consisted of dialogue and some camera instructions. Author
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is its treatment of Kane," wrote Carringer. 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.
640:. "According to Kael, the script was written almost entirely by Mankiewicz, and Welles had actively plotted to deprive him of any screen credit." The mainstream press accepted Kael's essay—an extension of her dispute with
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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. Everything begins and ends with that hostility behind the mandarin benevolence."
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and lack of close-ups in the film. But Mankiewicz also called the footage "magnificent" and said he liked it "from an aesthetical point of view." He also said that he thought the audience would not understand the film.
152:'s Broadway successes. In September 1939 Welles visited Mankiewicz while he was hospitalized in Los Angeles after a car accident, and offered him a job writing scripts for the Mercury Theatre's show on CBS radio,
290:, the play’s plot is structured around a journalist attempting to understand Brown by interviewing people who knew him and have different perspectives on him. The plot device of the unseen journalist Thompson in
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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. I gave her all the information I had and will send her
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privileged to be invited to his private office where he mingled with Hearst's editors and columnists. "For the first time Herman's Hollywood pleasure merged with his political scholarship", wrote Meryman.
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657:. 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.
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script was not only substantial but definitive." Carringer finally assessed that it was Welles who transformed the script “from a solid basis for a story into an authentic plan for a masterpiece.”
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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.
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script. Welles came to suspect that Houseman had turned Mankiewicz against him. "When Mank left for Victorville, we were friends. When he came back, we were enemies," Welles told biographer
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and claim full credit for writing the entire script by himself. Welles biographer Barbara Leaming believes that Mankiewicz reacted this way out of fear of getting no credit at all.
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used later on. Mank liked it, so we started searching for the man it was going to be about. Some big American figure—couldn’t be a politician, because you’d have to pinpoint him.
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circled Mankiewicz's name in pencil, then drew an arrow that put it in first place, was Welles. The official credit reads, "Screenplay by Herman J. Mankiewicz and Orson Welles".
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882:"The by-line carried only my name," Bogdanovich later wrote, "but Orson had taken a strong hand in revising and rewriting. Why shouldn't he? He was fighting for his life."
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Mankiewicz's rancor toward Welles grew over the remaining 12 years of his life. Welles's irritation with Mankiewicz passed quickly, and he spoke of him with fondness.
651:"Raising Kane" angered many critics, most notably Bogdanovich, a close friend of Welles who rebutted Kael's claims in "The Kane Mutiny", an October 1972 article for
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The name of the Victorville ranch where Mankiewicz and Houseman worked changed in 1943, from the North Verde Ranch to its present name, the Kemper Campbell Ranch.
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than Mank ... a perfect monument of self-destruction. But, you know, when the bitterness wasn't focused straight at you, he was the best company in the world."
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in Hollywood," wrote Meryman, "those who had been guests at San Simeon and those who had not." Mankiewicz and his wife were part of the social set invited to
687:"Orson was vigorously defended," wrote biographer Barton Whaley, "but in less prominently placed articles; so, again, the damage was immense and permanent."
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was released, she reportedly told him, "You know, that's taken from that idea I gave you," to which Welles replied, "I don't want you talking about it."
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co-wrote the script in early 1940. He and Welles separately re-wrote and revised each other's work until Welles was satisfied with the finished product.
918:—and sadly one of the least well known". He wrote that many biographers may wrongly assume that Carringer included all of its facts in his later book,
632:"The major focus of Kael's essay is its defense and celebration of screenwriter Herman J. Mankiewicz as the principal, neglected creative force behind
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Mankiewicz began threatening Welles to get credit for the film. This included threatening to post full-page ads in trade papers and getting his friend
125:. "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."
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December 1939, after a violent quarrel with Welles over finances, Houseman resigned and returned to New York. To Welles, his departure was a relief.
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399:, it was 325 pages long and outrageously overwritten, even for a first draft," wrote Meryman. "Houseman blandly ignores this fact. He implies that
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832:(1937) but insisted that he knew firsthand things that had appeared only in the book. The trial ended in a hung jury. RKO settled out of court.
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Mankiewicz, in Victorville, and the other, in Beverly Hills, by myself. … The final version of the screenplay … was drawn from both sources."
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then "adapted it with the same freedom and disregard for authority with which he adapt a Shakespeare play or a thriller by Nicholas Blake."
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are hard to explain." Welles removed a great deal of Mankiewicz's Hearst material, but Lundberg would eventually file suit nevertheless.
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For comparison purposes, author Harlan Lebo summarizes the plot of the original script, which "varies greatly from the finished film".
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wrote that Mankiewicz "… probably believed that Welles had little experience as an original scriptwriter … may even have felt that
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Only four of the five scripts reached the air: "The Murder of Roger Ackroyd", "Dodsworth", "Vanity Fair" and "Huckleberry Finn".
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318:. He also said that his father and Hearst knew each other. When Welles arrived in Hollywood in 1939 everyone was talking about
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Kilbourne, Don (1984). "Herman Mankiewicz (1897–1953)". In Morsberger, Robert E.; Lesser, Stephen O.; Clark, Randall (eds.).
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and persuaded Houseman to return to California. He was hired to supervise Mankiewicz as he put a rough draft on paper.
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1782:. Woodstock, Illinois: Privately printed; Woodstock Public Library collection, digitized by Illinois State Library.
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shattered leg. Mankiewicz testified in a court proceeding a few years later that the idea for the film began with a
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Welles himself had worked with the concept. As a teenager in 1932 he wrote a play about the life of abolitionist
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895:(1976), edited by Ronald Gottesman, and is excerpted in Bogdanovich's new introduction to the 1998 edition of
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Rubio, Juan Cobos Miguel; Pruneda, Jose Antonio (April 1965). "Interview with Orson Welles". Paris, France:
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572:'s 1971 essay created a controversy by claiming Mankiewicz deserved full credit for writing the screenplay.
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Mankiewicz and Houseman worked in seclusion at a historic ranch in Victorville, California, for 12 weeks.
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Bogdanovich, Peter; Welles, Orson (uncredited) (1976). "The Kane Mutiny". In Gottesman, Ronald (ed.).
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for copyright infringement. In his November 1950 testimony Mankiewicz freely stated that he had read
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Directors in Action: Selections from Action, The Official Magazine of the Directors Guild of America
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helped write drafts of the script and later went so far as to say that Welles "never wrote a word".
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was a notorious personality in Hollywood. "His behavior, public and private, was a scandal," wrote
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has been the authorship of the screenplay. Mankiewicz was enraged when an August 1940 column by
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53:, has been one of the film's long-standing controversies. With a story spanning 60 years, the
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73:. A rich incorporation of the experiences and knowledge of its authors, the film earned an
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Mankiewicz was welcomed into Hearst's private office at San Simeon, where he mingled with
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would seem cynical and identify too closely with Hearst, whose newspapers included the
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claimed to have suggested the multiple-points-of-view structure to Welles. Soon after
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But at the same time, Houseman was stirring controversy, lunching with film critic
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During March, April and early May 1940, Mankiewicz dictated the screenplay, titled
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More works of conjecture … have been written on the creation of the screenplay for
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Bogdanovich, Peter; Welles, Orson (uncredited) (October 1972). "The Kane Mutiny".
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Welles admired Mankiewicz, and had met him in New York in 1938 at the time of the
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For the next five weeks Mankiewicz wrote the first draft of the script for MGM's
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Welles did not know Hearst, but he knew much about him through drama critic
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Welles and Mankiewicz soon settled on the idea of using newspaper magnate
1613:"Route 66 history includes Victorville sites connected to 'Citizen Kane'"
302:, "and I believe he was as much influenced by Samuel Insull and Colonel
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than Orson and Herman were ever able to cram between those blue covers.
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and giving Mankiewicz total credit for the creation of the script for
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is also reminiscent of the unseen Marlow in Welles's proposed film
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was the first idea. But we got pretty quickly to the press lords."
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and subsequently as a long introduction to the shooting script in
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In 1969, when he was interviewed for the official magazine of the
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McBride, Joseph (Fall 1971). "Rough Sledding with Pauline Kael".
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One Man's Time and Chance, a Memoir of Eighty Years 1895 to 1975
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Welles, Orson; Mankiewicz, Herman Jacob; Kael, Pauline (2002).
2296:. Academy of Motion Picture Arts and Science. 3 October 2014.
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Despite the System: Orson Welles Versus the Hollywood Studios
696:"the full evidence reveals that Welles's contribution to the
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as he was by the figure of Hearst." Roger Hill, head of the
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screenplay were revived in 1971 by influential film critic
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It's All True: Based on an Unfinished Film by Orson Welles
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The fourth draft dated June 18 was the first to be titled
2200:"I Missed It at the Movies: Objections to 'Raising Kane'"
2122:. Englewood Cliffs, N.J.: Prentice-Hall. pp. 28–53.
1751:. Indianapolis: The Bobbs Merrill Company, Inc. pp.
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him. That terrible vulnerability. That terrible wreck."
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Magician: The Astonishing Life and Work of Orson Welles
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Orson Welles and Roger Hill: A Friendship in Three Acts
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2294:"The 14th Academy Awards (1942) Nominees and Winners"
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629:. Kael's unacknowledged primary source was Houseman.
1930:
Welles, Orson (November 17, 1971). "The Creation of
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to write an exposé about their collaboration in the
207:
receive no credit for his work as he was hired as a
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1952:"John Houseman on 'What happened to Orson Welles?'"
1484:
1482:
732:, shared by Herman J. Mankiewicz and Orson Welles.
45:, the 1941 American motion picture that marked the
1588:"'Citizen Kane' penned on quiet Victorville ranch"
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1389:
1263:Mank: The Wit, World and Life of Herman Mankiewicz
1020:
863:is dedicated "to the memory of Herman Mankiewicz".
1995:. New York: RKO Pictures/Winkler and Ramen. 1941.
1743:"Citizen Kane Remembered [May–June 1969]"
1557:. Vol. 26: American Screenwriters. Detroit:
2254:. Berkeley, CA: University of California Press.
824:In 1947 Ferdinand Lundberg sued the creators of
416:it," wrote Carringer, "but coincidences between
2036:The Complete History of American Film Criticism
1871:
1869:
99:
3456:Films with screenplays by Herman J. Mankiewicz
1705:Carringer, Robert L. (2004) . "The Scripts of
1523:"Joseph Campbell and Jean De Blasis Interview"
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781:Welles and Lederer later became great friends.
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660:Other rebuttals included articles by Sarris,
492:One of the long-standing controversies about
8:
2038:. Santa Monica, CA: Santa Monica Press LLC.
982:Citizen Kane: The Fiftieth Anniversary Album
500:quoted Welles as saying, " … and so I wrote
2341:Citizen Kane : the complete screenplay
2276:"Who Wrote 'Citizen Kane'? It's No Mystery"
1174:Citizen Welles: A Biography of Orson Welles
859:Act Three of Houseman's 1972 autobiography
619:" was printed in two consecutive issues of
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2076:(2nd ed.). Cambridge, Massachusetts:
1337:. Albany, Georgia: BearManor Media, 2013,
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806:that he liked most of Welles's new scenes.
521:. Mankiewicz also threatened to go to the
75:Academy Award for Best Original Screenplay
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615:, whose controversial 50,000-word essay "
473:script was the product of both of them."
166:In late December, the executive board of
1527:Mohave Historical Society Oral Histories
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3401:Orson Welles Paul Masson advertisements
1711:Orson Welles's Citizen Kane: A Casebook
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332:, favorite nephew of Hearst's mistress
3461:Films with screenplays by Orson Welles
1820:from the original on September 9, 2015
1786:from the original on September 7, 2014
975:
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351:while Hearst presided over his empire.
3281:The Mercury Summer Theatre of the Air
2324:Citizen Kane: the complete screenplay
2210:from the original on December 7, 2014
2160:from the original on December 7, 2014
607:Questions over the authorship of the
7:
2300:from the original on August 12, 2016
2472:Citizen Kane: A Filmmaker's Journey
1854:from the original on April 29, 2016
1315:Orson Welles: The Man Who Was Magic
3014:Around the World with Orson Welles
1954:. Wellesnet.com. August 21, 2008.
1911:from the original on June 20, 2006
1806:"Orson Welles is Divorced by Wife"
891:"The Kane Mutiny" also appears in
256:. "Mank always needed a villain."
14:
2250:Rosenbaum, Jonathan, ed. (2007).
1958:from the original on May 22, 2012
325:After Many a Summer Dies the Swan
2013:. New York: Simon and Schuster.
1554:Dictionary of Literary Biography
1438:Orson Welles: The Road to Xanadu
579:
561:
57:examines the life and legacy of
2818:The Spirit of Charles Lindbergh
1533:from the original on 2016-02-09
664:and Rosenbaum, interviews with
3324:The Begatting of the President
3203:The Mercury Theatre on the Air
2229:Gilling, Ted (Spring 1972). "
1993:Souvenir Program, Citizen Kane
1889:"Raising Kane by Pauline Kael"
1499:University of California Press
1:
3423:They'll Love Me When I'm Dead
1709:". In Naremore, James (ed.).
1489:Carringer, Robert L. (1985).
946:Vanity Will Get You Somewhere
691:"The Scripts of Citizen Kane"
170:all but ordered studio chief
3289:The Adventures of Harry Lime
2763:An Evening with Orson Welles
2458:The Battle Over Citizen Kane
1840:"Orson Welles' Ex-Wife Weds"
1497:. Berkeley and Los Angeles:
3374:Rita Hayworth (second wife)
2343:(Available as Physical) at
3477:
3384:Beatrice Welles (daughter)
3038:In the Land of Don Quixote
2679:The Other Side of the Wind
1493:The Making of Citizen Kane
1268:William Morrow and Company
920:The Making of Citizen Kane
550:
467:Directors Guild of America
3273:Orson Welles Commentaries
3006:Orson Welles' Sketch Book
2583:The Magnificent Ambersons
2528:
1897:Little, Brown and Company
1741:Thomas, Bob, ed. (1973).
1529:. Mojave Desert History.
1392:Orson Welles, A Biography
1388:Leaming, Barbara (1985).
445:New York Journal-American
3257:The Orson Welles Almanac
2810:Orson Welles' Magic Show
2252:Discovering Orson Welles
730:Best Original Screenplay
707:Carringer observed that
364:Described by biographer
3379:Paola Mori (third wife)
3128:The Mercury Wonder Show
3022:Orson Welles and People
2731:The Miracle of St. Anne
2345:University of Wisconsin
2034:Roberts, Jerry (2010).
1715:Oxford University Press
1592:Victorville Daily Press
1179:Charles Scribner's Sons
848:A Sea of Upturned Faces
260:Ideas and collaboration
229:Victorville, California
196:William Randolph Hearst
85:Mankiewicz as co-writer
63:William Randolph Hearst
55:quasi-biographical film
3225:The Campbell Playhouse
2784:The Merchant of Venice
2599:The Lady from Shanghai
2080:. pp. vii–xxxix.
459:
385:
352:
308:Todd Seminary for Boys
223:
213:The Campbell Playhouse
155:The Campbell Playhouse
115:
97:
35:The authorship of the
32:
3430:Orson Welles (crater)
3233:The Orson Welles Show
3218:The War of the Worlds
3046:The Orson Welles Show
3030:The Fountain of Youth
2928:Three Cases of Murder
2231:The Citizen Kane Book
2198:Rosenbaum, Jonathan.
2120:Focus on Orson Welles
2070:(1998). "My Orson ".
1893:The Citizen Kane Book
1885:Mankiewicz, Herman J.
1816:), February 1, 1940.
1559:Gale Research Company
1317:. Lybrary.com, 2005,
1023:Run-Through: A Memoir
980:Lebo, Harlan (1990).
948:. San Francisco, CA:
893:Focus on Orson Welles
636:," wrote film critic
627:The Citizen Kane Book
598:The Citizen Kane Book
518:Saturday Evening Post
449:
380:
342:
221:
92:
22:
3343:This is Orson Welles
3096:The Cradle Will Rock
2185:University of Dayton
2073:This is Orson Welles
1848:The Spokesman-Review
1776:Hill, Roger (1977).
1649:Chicago Review Press
1586:Lindstrom, Natasha.
1101:This is Orson Welles
1029:Simon & Schuster
897:This is Orson Welles
757:Geraldine Fitzgerald
681:This is Orson Welles
523:Screen Writers Guild
119:Herman J. Mankiewicz
94:Herman J. Mankiewicz
79:Herman J. Mankiewicz
65:and Chicago tycoons
3160:Moby Dick—Rehearsed
3152:The Lady in the Ice
2877:Filming 'The Trial'
2747:The Dominici Affair
2558:Unrealized projects
2429:Charles Foster Kane
2326:. London: Methuen.
2068:Rosenbaum, Jonathan
1814:Evening Independent
1717:. pp. 79–121.
1096:Rosenbaum, Jonathan
908:First published in
720:The screenplay for
590:" was published in
59:Charles Foster Kane
2987:The Big Brass Ring
2655:The Immortal Story
2647:Chimes at Midnight
2282:. 6 December 2020.
2146:(April 15, 1971).
2107:: 99–105, 180–190.
2064:Bogdanovich, Peter
1309:2016-04-07 at the
1092:Bogdanovich, Peter
638:Jonathan Rosenbaum
422:Ferdinand Lundberg
386:
353:
271:The Tree Will Grow
224:
160:Campbell Playhouse
98:
47:feature film debut
33:
3438:
3437:
3241:Ceiling Unlimited
2944:The Southern Star
2936:David and Goliath
2904:Journey into Fear
2706:The Hearts of Age
2488:
2487:
2261:978-0-520-25123-6
2236:Sight & Sound
2153:The Village Voice
2045:978-1-595-80049-7
1979:Cahiers du Cinéma
1899:. pp. 1–84.
1850:), May 18, 1940.
1724:978-0-19-515892-2
1658:978-1-556-52547-6
1619:. 4 December 2020
1572:978-0-8103-0917-3
1508:978-0-520-20567-3
1407:978-0-618-15446-3
1277:978-0-688-03356-9
995:978-0-385-41473-9
959:978-0-916-51517-1
675:Sight & Sound
672:that appeared in
296:Heart of Darkness
250:Heart of Darkness
242:John Citizen, USA
133:that "Nobody was
131:Peter Bogdanovich
3468:
3316:The Happy Prince
3297:The Black Museum
3136:Around the World
3112:Too Much Johnson
2979:Cradle Will Rock
2963:Monsieur Verdoux
2837:Too Much Johnson
2829:Unfinished films
2755:Portrait of Gina
2723:Around the World
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2896:Partly directed
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345:Arthur Brisbane
330:Charles Lederer
286:. Like that of
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233:Green Spot Cafe
172:George Schaefer
150:Mercury Theatre
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2280:new york times
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2144:Sarris, Andrew
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1017:Houseman, John
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942:Cotten, Joseph
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841:Welles said, "
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622:The New Yorker
593:The New Yorker
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551:Main article:
548:
547:"Raising Kane"
545:
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316:Ashton Stevens
300:Richard Wilson
267:John Dillinger
261:
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238:Clinton Heylin
199:at New York's
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3065:Marching Song
3062:
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2847:
2846:
2845:It's All True
2842:
2839:
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2698:Twelfth Night
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2640:
2636:
2633:
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2631:Touch of Evil
2628:
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2608:
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2567:Feature films
2565:
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2551:
2549:
2546:
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2541:
2539:
2538:Radio credits
2536:
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2469:
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2447:
2445:
2443:Related works
2441:
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2182:
2181:Film Heritage
2175:
2172:
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2149:
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2129:0-13-949214-3
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2087:9780306808340
2083:
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2075:
2074:
2069:
2065:
2061:
2060:Welles, Orson
2055:
2052:
2047:
2041:
2037:
2030:
2027:
2022:
2016:
2012:
2008:
2002:
1999:
1994:
1988:
1985:
1981:, number 165.
1980:
1973:
1970:
1957:
1953:
1947:
1944:
1939:
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1933:
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1910:
1906:
1902:
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1878:
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1111:
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1103:
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1088:Welles, Orson
1083:
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950:Mercury House
947:
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726:Academy Award
724:received the
723:
715:
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688:
685:
683:
682:
677:
676:
671:
667:
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658:
656:
655:
649:
647:
646:auteur theory
643:
642:Andrew Sarris
639:
635:
630:
628:
624:
623:
618:
614:
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382:John Houseman
379:
372:
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367:
362:
359:
358:Hearst Castle
350:
346:
341:
337:
335:
334:Marion Davies
331:
327:
326:
322:'s new book,
321:
320:Aldous Huxley
317:
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309:
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297:
293:
289:
285:
284:
283:Marching Song
279:
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210:
209:script doctor
204:
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197:
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189:Howard Hughes
186:
185:
180:
179:
178:March of Time
173:
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157:
156:
151:
146:
144:
140:
136:
132:
128:
124:
123:John Houseman
120:
117:Screenwriter
112:
111:Joseph Cotten
106:
104:
95:
91:
84:
82:
80:
76:
72:
68:
67:Samuel Insull
64:
60:
56:
52:
48:
44:
43:
38:
31:
30:
25:
21:
3451:Citizen Kane
3421:
3413:
3405:
3393:
3351:Les Bravades
3349:
3341:
3322:
3314:
3295:
3287:
3279:
3271:
3263:
3255:
3247:
3239:
3231:
3223:
3201:
3193:
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3126:
3118:
3110:
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3094:
3086:
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3071:
3063:
3044:
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3028:
3020:
3012:
3004:
2985:
2977:
2969:
2961:
2942:
2934:
2926:
2918:
2910:
2902:
2885:The Dreamers
2883:
2875:
2867:
2859:
2851:
2843:
2835:
2816:
2808:
2800:
2792:One Man Band
2790:
2782:
2774:
2769:
2761:
2753:
2745:
2737:
2729:
2721:
2714:Citizen Kane
2713:
2704:
2696:
2677:
2669:
2661:
2653:
2645:
2637:
2629:
2621:
2613:
2605:
2597:
2591:The Stranger
2589:
2581:
2575:Citizen Kane
2573:
2553:Bibliography
2522:Orson Welles
2477:
2470:
2463:
2456:
2451:Raising Kane
2397:
2383:Citizen Kane
2381:
2323:
2302:. Retrieved
2288:
2279:
2270:
2251:
2245:
2234:
2230:
2224:
2212:. Retrieved
2204:Film Comment
2203:
2193:
2187:: 13–16, 32.
2180:
2174:
2162:. Retrieved
2151:
2138:
2119:
2113:
2102:
2096:
2071:
2054:
2035:
2029:
2010:
2001:
1992:
1987:
1972:
1960:. Retrieved
1946:
1935:
1932:Citizen Kane
1931:
1925:
1913:. Retrieved
1892:
1858:December 14,
1856:. Retrieved
1834:
1824:December 14,
1822:. Retrieved
1800:
1788:. Retrieved
1778:
1771:
1747:
1710:
1707:Citizen Kane
1706:
1643:
1633:
1621:. Retrieved
1616:
1607:
1595:. Retrieved
1591:
1581:
1552:
1546:
1535:. Retrieved
1526:
1517:
1492:
1441:. New York:
1437:
1398:Viking Press
1396:. New York:
1391:
1334:
1329:
1314:
1266:. New York:
1262:
1177:. New York:
1173:
1169:Brady, Frank
1108:Publishers.
1104:. New York:
1099:
1027:. New York:
1022:
984:. New York:
981:
945:
936:
919:
915:
909:
904:
896:
892:
887:
878:
868:
860:
855:
847:
843:Citizen Kane
842:
837:
829:
826:Citizen Kane
825:
820:
811:
800:
795:
786:
777:
768:
761:Citizen Kane
760:
752:
743:
722:Citizen Kane
721:
719:
709:Citizen Kane
708:
706:
702:
698:Citizen Kane
697:
694:
686:
679:
673:
659:
652:
650:
633:
631:
626:
620:
617:Raising Kane
613:Pauline Kael
609:Citizen Kane
608:
606:
597:
591:
588:Raising Kane
570:Pauline Kael
568:Film critic
553:Raising Kane
541:
536:
534:
531:
527:
516:
510:
506:
502:Citizen Kane
501:
494:Citizen Kane
493:
491:
482:Citizen Kane
481:
478:Pauline Kael
475:
471:Citizen Kane
470:
464:
460:
454:Citizen Kane
453:
450:
444:
440:
436:
433:Citizen Kane
432:
430:
425:
417:
412:
410:
404:
400:
396:
394:
389:
387:
366:Simon Callow
363:
354:
323:
313:
295:
292:Citizen Kane
291:
288:Citizen Kane
287:
281:
275:
270:
263:
249:
246:
241:
232:
225:
212:
205:
193:
182:
176:
168:RKO Pictures
165:
159:
153:
147:
142:
141:bitter, and
138:
134:
127:Orson Welles
116:
103:Citizen Kane
102:
100:
81:and Welles.
51:Orson Welles
42:Citizen Kane
40:
34:
29:Citizen Kane
27:
24:Orson Welles
3395:Frozen Peas
3308:Spoken-word
3292:(1951–1952)
3276:(1945–1946)
3252:(1942–1943)
3244:(1942–1943)
3236:(1941–1942)
3228:(1938–1940)
3198:(1937–1938)
3107:(1937–1938)
2955:Adaptations
2920:Black Magic
2888:(1980–1982)
2872:(1967–1970)
2861:The Heroine
2856:(1957–1969)
2853:Don Quixote
2813:(1976–1985)
2795:(1968–1971)
2770:Orson's Bag
2739:Magic Trick
2623:Mr. Arkadin
2548:Discography
2533:Filmography
2214:December 3,
2164:December 4,
2011:Final Dress
1962:December 7,
1915:December 4,
1790:December 8,
1561:. pp.
861:Run Through
457:difference.
137:miserable,
3445:Categories
3195:The Shadow
3168:Rhinoceros
3120:Native Son
2998:Television
2663:F for Fake
2398:Screenplay
2391:Production
2020:0671420313
1895:. Boston:
1537:2016-02-04
1323:B005HEHQ7E
929:References
488:Authorship
278:John Brown
37:screenplay
16:Screenplay
3389:Oja Kodar
3300:(1951–52)
2802:Moby Dick
2639:The Trial
2347:Libraries
2304:March 27,
1940:. London.
1937:The Times
1905:301527105
986:Doubleday
802:Comrade X
716:Accolades
513:Ben Hecht
373:Scripting
269:, titled
3220:" (1938)
3213:" (1938)
2869:The Deep
2422:Universe
2298:Archived
2239:: 71–73.
2208:Archived
2158:Archived
2009:(1983).
1956:Archived
1909:Archived
1887:(1971).
1852:Archived
1818:Archived
1784:Archived
1641:(2006).
1531:Archived
1435:(1996).
1307:Archived
1260:(1978).
1171:(1989).
1098:(1992).
1019:(1972).
944:(1987).
684:(1992).
644:and the
443:and the
437:American
418:American
405:American
401:American
397:American
390:American
184:Rashomon
108:—
3362:Related
3211:Dracula
3144:Othello
3057:Theatre
2716:trailer
2615:Othello
2607:Macbeth
2465:RKO 281
2408:Trailer
2403:Sources
2104:Esquire
1563:218–224
1270:, Inc.
654:Esquire
600:(1971).
596:and in
280:called
201:21 Club
143:funnier
3426:(2018)
3418:(2014)
3410:(1993)
3354:(1996)
3346:(1992)
3327:(1970)
3319:(1946)
3284:(1946)
3268:(1945)
3260:(1944)
3206:(1938)
3190:(1937)
3171:(1960)
3163:(1955)
3155:(1953)
3147:(1951)
3139:(1946)
3131:(1943)
3123:(1941)
3115:(1938)
3104:Caesar
3099:(1937)
3091:(1936)
3083:(1936)
3068:(1932)
3049:(1979)
3041:(1964)
3033:(1958)
3025:(1956)
3017:(1955)
3009:(1955)
2990:(1999)
2982:(1999)
2974:(1972)
2966:(1947)
2947:(1969)
2939:(1960)
2931:(1955)
2923:(1949)
2915:(1944)
2907:(1943)
2880:(1981)
2864:(1967)
2848:(1942)
2840:(1938)
2821:(1984)
2805:(1971)
2787:(1969)
2779:(1968)
2776:Vienna
2766:(1970)
2758:(1958)
2750:(1955)
2742:(1953)
2734:(1950)
2726:(1946)
2718:(1940)
2709:(1934)
2701:(1933)
2690:Shorts
2682:(2018)
2674:(1978)
2666:(1973)
2658:(1968)
2650:(1965)
2642:(1962)
2634:(1958)
2626:(1955)
2618:(1951)
2610:(1948)
2602:(1947)
2594:(1946)
2586:(1942)
2578:(1941)
2434:Xanadu
2413:Legacy
2330:
2258:
2126:
2084:
2042:
2017:
1903:
1759:
1721:
1655:
1623:7 July
1597:7 July
1569:
1505:
1449:
1443:Viking
1404:
1341:
1321:
1274:
1185:
1112:
1035:
992:
956:
873:more."
3335:Books
3179:Radio
736:Notes
537:Loved
129:told
2479:Mank
2328:ISBN
2306:2016
2256:ISBN
2216:2014
2166:2014
2124:ISBN
2082:ISBN
2040:ISBN
2015:ISBN
1964:2014
1917:2014
1901:OCLC
1860:2014
1826:2014
1792:2014
1757:ISBN
1753:1–11
1719:ISBN
1653:ISBN
1625:2024
1599:2024
1567:ISBN
1503:ISBN
1447:ISBN
1402:ISBN
1339:ISBN
1319:ASIN
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