Mank

... just as CK wasn't, so if you enjoy expending time and energy reviewing and commenting on a work of fiction as if it were moulded and forged from the past verbatim, you really need to reconsider how you approach and view the world of cinema and film - perhaps life in general! Perspective, interpretation and imagination are the keywords and, on this occasion, it helps if you have an interest or familiarity with some, not all, of the characters portrayed and the products of their toil and travails - as this will definitely impact your view on the rendering which, in my opinion, was enhanced by a spectacular performance from Gary Oldman, further elevated and reinforced by three stunning constructions from the supporting ladies and embellished with my ability to acknowledge fact from fiction in the name of entertainment. Watch a documentary or read a biography if you want to be educated!

"Mank" is a film that seems as if it was never intended to be seen by most of the public. And, while most film critics and the Oscars loved the movie, the average person would have doubtless left the theater (or Netflix) completely confused. After all, to really appreciate the film and follow it, you need to know who folks like Irving Thalberg, William Randolph Hearts and many of Herman Mankiewiecz's contemporaries. I do, mostly because I am a retired history teacher and old film nut...but I am also not the average person. For them, I really feel sorry, as the film bounces back and forth in time and involves all sorts of people long dead....and soon to be forgotten.*

The story is a semi-fictionalized biography of Herman Mankiewiecz and it centers on how he wrote "Citizen Kane". The problem is that the movie goes on the assumption that he pretty much completely wrote the script and based it upon his contact with Hearst and his mistress, Marion Davies. While this is true...it's partially true according to most sources. The contributions of John Houseman and, especially, Orson Welles, are almost completely ignored by the film. So, my advice is don't take the film as the gospel truth...though I do appreciate how the film also manages, at least a bit, to show that Marion Davies was NOT the talentless idiot she was shown to be in "Citizen Kane"...something that just seemed cruel from that screenplay.

Overall, I found the film fascinating and with some excellent performances. But it's also not a film that I loved...mostly because it seemed to have an agenda...one that was more important that giving the entire truth.

*This film is full of inside jokes and cleverness that completely passes over the heads of most viewers and that annoyed me a bit. For example, when talking about the author Upton Sinclair, one comment made was that someone was so dumb that they thought he wrote "Elmer Gantry"...a book, incidentally, that was written by Sinclair Lewis (though they never explained this confusion nor why it is easy to make for most people). This just seemed awfully elitist.

1940. Film studio RKO hires 24-year-old wunderkind Orson Welles under a contract that gives him full creative control of his movies. For his first film he calls in washed up alcoholic Herman J Mankiewicz to write the screenplay. That film is Citizen Kane and this is the story of how it was written.

I was quite excited at the release of this movie. Citizen Kane is one of the greatest films of all time and the making of it deserves a movie. And here we have it, directed by the great David Fincher (Se7en, Fight Club, Zodiac, The Social Network, Gone Girl, The Curious Case of Benjamin Button) no less and with a good cast - Gary Oldman, Amanda Seyfried, Charles Dance, Lily Collins. Surely a recipe for a masterpiece?

Unfortunately, no. On the plus side, the story is reasonably interesting and the cast put in solid performances. Fincher's direction is spot-on, with the black-and-white cinematography an homage to Citizen Kane.

However, the plot is never very engaging. The story never really finds a centre and pretty much drifts along. It's not dull but has a listlessness to it nonetheless. The flashbacks, while adding information, don't help the momentum either, resulting in a start-stop feel to the main plot and a bit of confusion at times.

The conclusion is also a damp squib and is disparaging to one of the greatest creative forces in the history of cinema. It smacks of trying to make a controversy out of nothing.

Overall it's okay, but nothing more.

Like Oliver Stone's "JFK a masterfully executed distortion of history Fine acting and cinematography, but no comparison to those of "Citizen Kane."

Fincher's villainization in MANK of Welles as a plagiarist runs contrary to the facts. To quote Robert Carringer, the expert on the matter: "A virtually complete set of script records for Citizen Kane has been pre- served in the archives of RKO General Pictures in Hollywood, and these provide almost a day-to-day record of the history of the scripting. Once this record is reconstructed and all the available pieces of evidence are matched to it, a reasonably clear picture emerges of who was responsible for what in the final script. The full evidence reveals that Welles' contribution to the Citizen Kane script was not only substantial but definitive (370)... "Herman Mankiewicz's principal contribution to the Citizen Kane script was made in the early stages at Victorville. The Victorville scripts elaborated the plot logic and laid down the overall story contours (398).... The Mankiewicz partisans would have us believe that this is the heart of the matter and that by the end of Victorville the essential part of the scripting was complete. Quite the contrary... Major revisions begin as soon as the script passes into Welles' hands, and several important lines of development can be discerned in sub- sequent phases of the scripting. One of these is the elimination of dramatically questionable material, especially of a large amount of material drawn from Hearst. Another is a fundamental alteration of the nature of many of the scenes; this may be described generally as a shift from scenes played continuously to scenes fragmented according to montage conceptions" (399). (Here, the evolution of Mankiewicz's rather humdrum scenes involving Kane and Emily into the film's concise, witty, montage is a perfect example.), Yet another is the evolution of Charles Foster Kane as a character. The principal strategy is the replaying of certain key situa tions and moments in his life over and over again as a means of testing and discovering the character (399)....":Not even the staunchest defenders of Mankiewicz would deny that Welles was principally responsible for the realization of the film. But in light of the evidence, it may be they will also have to grant him principal responsibility for the realization of the script" (400)." (See Robert L. Carringer. "The Scripts of 'Citizen Kane.'" Critical Inquiry, Vol. 5, No. 2, 1978pp. 369-400; Also cf. The Making of Citizen Kane, 985). More interpretively. Welles was preponderantly an adapter of others work, whether from Shakespeare, lesser classics or thrillers, whether for radio theater, stage theater or film. "Citizen Kane" can be viewed as Welles' adaptation of Mankiewicz's ungainly, 250-page "American," his first "script" for "Kane."

I'm a huge fan of both "Citizen Kane" as well as David Fincher's films, so I was extremely excited to see this. Because of how much I enjoy Fincher's films as well as how good the trailers looked, I wanted to (safely) see it on a big screen rather than wait until Netflix. Needless to say, this is a good movie, but not a great one--and it does not quite live up to the quality one would expect from a Fincher film.

The story focuses on Herman Mankiewicz (Gary Oldman,) the screenwriter who worked--often tempestuously--with Orson Welles to write "Citizen Kane." However, the amount of time the film spends on material related to "Citizen Kane" is relatively little. Instead, the film tends to focus more on Mank's political activity, personal life, ascent into the movie business, and alcoholism throughout the 1930s. Oldman does a good job playing Mank, and is completely believable in the role. As one can expect from a Fincher film, the editing and cinematography are top-notch. The stylish, black-and-white aesthetic that feels both slightly understated (in the best way possible) and posh is beautifully complemented by a relatively steady camera and editing techniques common to films of the 1930s and 40s. The screenplay is generally well-written as well, although it doesn't feel as taut as you would expect in a Fincher picture, and the leisurely pacing is very well done.

Despite these strong qualities, "Mank" unfortunately is not quite great. The film develops Mank as a character, but he is portrayed in too static of a manner to really make for an engaging protagonist, or even one that can simply have clear ripple effects on the rest of the film's narrative and the characters around him. His characterization is not especially interesting. Fincher probably uses flashbacks a bit too much in the story, as many of the flashbacks to the early 1930s don't do too much to provide additional context to Mank as a character or the time period as a whole. Also, the supporting characters (such as the roles played by Amanda Seyfried and Lilly Collins) are not especially well-developed. As a result, the film doesn't completely work as a character study. However, it is still a generally well-acted and well-shot depiction of early film history that is worth seeing for viewers interested in the subject matter. 7/10