[Forecast] A great collaboration between two geniuses

Eduardo 2022-03-20 09:02:06

1. Finch's new film: another "Once Upon a Time in Hollywood"

According to foreign media reports, since "Gone Lover" in 2014, David Fincher, who has no plans to shoot a feature-length film, will direct a biopic "Manke". The film tells the story of Herman Mankiewicz and Orson Welles writing the screenplay for Citizen Kane. In order to maintain the atmosphere of the classic Hollywood period, the film will be shot in black and white, and at the same time, this film will also be the first collaboration between two Oscar-level creators, David Fincher and Oldman.

The script for "Mank" was written by David Fincher's late father Jack Finch during his lifetime, and it mainly tells the chaotic process of screenwriter Mankiewicz's creation of "Citizen Kane". There is no doubt that "Citizen Kane" is one of the greatest films in the history of cinema. As a director, screenwriter and actor, Orson Welles, the film and television genius, has no need to repeat its influence, but for Herman Mankiewy Strange, presumably many fans will feel unfamiliar.

Herman Mankiewicz

In fact, Mankiewicz is also a genius. Born in 1897, Herman Mankiewicz is a well-known Hollywood filmmaker. He won the Academy Award for Best Original Screenplay for writing "Citizen Kane" with Orson Welles. In addition, Herman Mankiewicz also participated in the production of many classic films, such as "The Wizard of Oz", "Pride of Yankee", "Gentlemen Prefer Beauty" and other films, and once again won the Oscar for "Pride of Yankee" Nominated for the Best Original Screenplay Award.

2. The Birth of a Masterpiece: Turned Out to be a Bad Deal?

The creation of "Citizen Kane" began with an accident in 1939. In 1939, Mankiewicz broke a leg in an accident, and while he was hospitalized, Wells, who had worked with him on a radio drama, came to see him, and the two began to come up with a story. Mankiewicz's story was inspired by the then American "newspaper king" William Randolph Hearst. Hearst had a mistress named Marion Davis, who was also a popular Hollywood star. His nephew Charles Ryder (who wrote "Gentlemen Prefer Beauties" and "Eleven Arhats") is Mankiewicz's friend.

Through this relationship, Mankiewicz was often invited by Hearst to spend weekends on San Simeon Island, and he mastered a lot of materials about Hearst's life, and Mankiewicz's early experience as a journalist in the newspaper industry also greatly Helped him with a lot of detail in Citizen Kane. In the film, some of Kane's speeches are almost exact copies of Hirst's speeches.

"Citizen Kane"

However, in order to avoid legal troubles, both Mankiewicz and Wells denied that the story was based on Hirst and that the filming was done in secret. The film was screened internally in Hollywood before its release, and the news reached Hearst. As a result, Hearst Newspapers, which occupies half of the American media, completely blocked Citizen Kane, and even threatened to block other RKO films. Wells's only gamble is to show the film in a small area to spread word of mouth. In the end, the high evaluation of the industry peers allowed RKO to withstand the pressure and let the film be released smoothly in 1941.

Wells and Mankiewicz working on 'Citizen Kane' script

3. Signature controversy: The struggle between pride and stubbornness

After the film was released, "Citizen Kane" caused a lot of controversy over the screenwriter's attribution. The first draft of the screenplay was completed by Mankiewicz, and Wells polished and finalized it. But Wells changed the script so much that it was completely out of the original script, and before the movie was released, the publicity was centered on Wells alone, which made Mankiewicz a little annoyed, "Before the camera turned, the story There is not a single line in it that I did not write." Mankiewicz was reluctant to put Wells' name in the screenwriter's column and eventually turned his back on Wells.

So, Mankiewicz submitted the dispute to the screenwriters union, and the screenwriters union made a mediation. Mankiewicz, as the first screenwriter, let the two share the screenwriting position. Afterwards, Wells said that he had always hoped that the two would be able to jointly sign, but Mankiewicz revealed that Wells had given him $10,000 to let him give up the authorship of the screenwriter.

At the 1942 Academy Awards, "Citizen Kane" won nine nominations including Best Picture, Best Director, Best Actor, Best Original Screenplay, but Wells, who was an important creator and Mankiewicz were both absent. Wells was filming the documentary in South America at the time, and Mankiewicz refused to attend, "not wanting to be humiliated."

Mankiewicz's biographer Richard Merriman describes the night of the awards ceremony, Mankiewicz turned on the radio, sat on a chair in his bedroom, and pretended not to be listening. When the award for Best Original Screenplay was presented, a scream came from the radio: "Herman J. Mankiewicz." Co-writer Welles' name was drowned out by the audience's shouts. It was also the only award for Citizen Kane that night.

4. The end of the storm: the reconciliation of two geniuses

In 1971, critic Pauline Kael published an article titled "Kane's Way to Raise", which reignited the discussion of screenwriters' attribution. She studied seven major drafts of the screenplay for the film and came to the conclusion that screenwriter Mankiewicz deserves as much credit as director Welles. "Citizen Kane" is Mankiewicz's most important masterpiece, and no one can deny his contribution to the script. Wells also said years later: "Mankiewicz's contribution to the script ('Citizen Kane') is really not to be ignored." This may be regarded as a reconciliation between the two, and the cooperation between the two is indeed counted. Above is a great collaboration of two geniuses.

"Fight Club" Finch with Norton and Pitt

It is worth mentioning that in Mankiewicz's story, Wells exists in a negative image, especially in the signature scandal, the selfishness, willfulness and other negative elements behind his genius image, Will it become the direction of David Fincher's textual mining? We can take a wild guess. With the basis of the same type of biopic "The Social Network" of Big Brother Finch, in any case, we are always looking forward to the arrival of the new film.

The material of the article comes from the Beijing News Fun Entertainment

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Extended Reading
  • Jazmin 2022-01-03 08:01:40

    I watched it in the cinema, and it's worth watching it after going online or pulling the film with "Citizen Kane". It is recommended that Netflix directly let David Fincher and Ellen Sorkin shoot on Social Network 2. This year, for these two films, "Chicago 7" has weaker scenes and scene transitions, and "Mank" is a breath away from the script. …… As a film that explores the relationship between film and politics, and at the same time demonstrates Hollywood’s function of exporting mainstream values, the most successful point of "Mank" is that the story of "The Organ Grinder's Monkey" has established a big Hollywood studio. Criticism of the system. The accordionist’s monkey points not only to the star system, but also to the big bosses who claim to be the pillars of the industry, and even further to the political careerists who are more behind the scenes. The real ridicule of "Mank" is all the big figures who think they are in control of everything in the movie business.

  • Rickey 2022-01-03 08:01:40

    Success is also visual, failure is also drama, clues and background information are too complicated, basically explaining the background, most audiences can not substitute, can only serve a small group of audiences who understand that period of history and love the movie "Citizen Kane" . But it is still very emotional to present it with the same visual tone. Vinci is mainly to fulfill a wish of his old man. Old Vinci should also be a complete idiot, not only focusing on the creation of this classic movie and the charming personality of Mankiewicz, but also bringing us back to 1930- In the delicate sociopolitical environment of Hollywood in the 1940s. Movies are more about power, story creation and who controls the story. It is more accurate to say that it is not so much the "charm of the movie" as it is the power of the media.

Mank quotes

  • [a drunken Herman Mankiewicz sits at the corner of a large dinner table at an elaborate costume party, hosted by William Randolph Hearst and Louis B. Mayer. Instead of tinking on a glass to get the guests' attention, he slashes his glass with a knife. Gasps fill the room as he rises from his seat]

    Herman Mankiewicz: I've got a great idea for a picture, Louis. A picture I just know you're gonna love. It's a modern day version of Quixote!

    [Mank realizes his voice echoes through the room, but he continues, circling the table full of silent guests]

    Herman Mankiewicz: Now I know none of you read, but you know what it's about. A deluded old nobleman, who tilts at windmills. So how might we update this story?

    Butler: [whispers to Hearst] Do you want me to get someone?

    William Randolph Hearst: No.

    Herman Mankiewicz: How about we make our Quixote... a newspaperman? Who else could make a living tilting at windmills? But that's not enough... no, he wants more than readership. He wants more than adulation, he wants love. So, he runs for public office, and because he's notably rich, he wins... no, w-w-w-wait a minute. Notably rich and powerful, can't win over an audience unless notably rich and powerful sees the error of his ways in the final reel. Notably rich and powerful and making no goddamn excuses for it is only admirable in real life. Isn't that right, Louis?

    [Mayer glares at Mank as he drunkenly attempts to light his cigarette with the massive fireplace at the end of the room, unsuccessfully. Marion Davies takes a swig of her drink]

    Herman Mankiewicz: So what do we do? Anybody? We give him ideals! Ideals that any dirt-poor, depression-weary audience can identify with. Our Quixote is against crooked trusts, he's for the eight-hour workday, fair income tax, better schools. Why, he's even for government ownership of railroads. And you know what we call those people?

    Male Guest: Communists!

    Female Guest: Anarchists!

    Herman Mankiewicz: No, our Quixote, he's a two-fisted muckraker. In fact, someone predicts that he will one day win the presidency and bring about, get this...

    [laughing uncontrollably]

    Herman Mankiewicz: ... a socialist revolution!

    Louis B. Mayer: What a bunch of bullshit.

    Herman Mankiewicz: Is it? Tell him, Willie. Tell him.

    [Silence]

    Herman Mankiewicz: Upton Sinclair used exactly those words to describe a young William Randolph Hearst.

    Louis B. Mayer: [leaping from his seat] You miserable bastard!

    Herman Mankiewicz: [bowing] How do you do?

    [Some guests begin to leave the room, but Hearst's and Mayer's eyes stay on Mank]

    Herman Mankiewicz: Our Quixote, he hungers, he thirsts, he lusts for the voters to love him, love him enough to make him president, but they won't. And they don't. How do you suppose that could happen? Could it be because, in their hearts, they know he values power over people?

    [More guests leave as Mank approaches Hearst, still seated]

    Herman Mankiewicz: Disillusioned in Congress, he authors not one single piece of legislation in two terms. Can you believe that? That'll take some writing. Placed in nomination for president... it's too radical for the boys in the back, his bid goes nowhere! But we're doing something. We're building sympathy!

    [Even more guests leave]

    Herman Mankiewicz: Rejected, he flees to lotus land, where his faithful troll, Sancho, has prepared a mythical kingdom for...

    [Mank eyes Davies, stopping himself totally]

    Herman Mankiewicz: Wait a minute. I forgot the love interest! Her name: Dulcinea.

    [Every remaining head in the room turns to Davies]

    Herman Mankiewicz: Funny, adventurous, smarter than she acts. Ah, she's a... she's a showgirl! Beneath his social stratum, but that's okay because true love on the big screens, we all know is blind. And she... well, she loves him, too. So he takes her away to his m-mythical kingdom,

    [to butler]

    Herman Mankiewicz: can I get a bicarb?

    [back to the guests]

    Herman Mankiewicz: Now, along comes nemesis, that's Greek for any guy in a black hat, nemesis runs for governor, and he's a shoo-in to win. Why?

    [points to Hearst]

    Herman Mankiewicz: Because he's EXACTLY what our Don used to be! An idealist, ya get it? And not only that, nemesis is the same guy who once predicted that our Quixote would one day preside over a socialist revolution. Our Quixote looks into the mirror of his youth and decides to break this glass, a maddening reminder of who he once was. Assisted by his faithful Sancho

    [pointing to Mayer]

    Herman Mankiewicz: and armed w-with all the black magic at his command, he does just this. Destroying, in the process, not one man... but two.

    [Hearst is clearly furious, but maintains his composure]

    Herman Mankiewicz: Well, what do ya think, Louis? Hm? Do ya think it'll play?

    [Mank finally belches onto the floor. Any guest who hasn't already left does so]

    Herman Mankiewicz: Don't worry, folks. The white wine came up with the fish!

  • Herman Mankiewicz: Irving, you are a literate man. You know the difference between communism and socialism. In socialism, everyone shares the wealth. In communism, everyone shares the poverty.