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In advance of David Fincher’s new film MANK (opening Nov 25), we offer a chance to visit a central subject, Orson Welles’ 1941 all-timer. When a reporter is assigned to decipher newspaper magnate Charles Foster Kane's (Orson Welles) dying words, his investigation gradually reveals the fascinating portrait of a complex man who rose from obscurity to staggering heights. One of the greatest films ever made.
“It is cynical, ironic, sometimes oppressive and as realistic as a slap…. And, although it may not give a thoroughly clear answer, at least it brings to mind one deeply moral thought: For what shall it profit a man if he shall gain the whole world and lose his own soul? See CITIZEN KANE for further details.” —Bosley Crowther, New York Times (May 2, 1941) “It is one of the miracles of cinema that in 1941 a first-time director; a cynical, hard-drinking writer; an innovative cinematographer, and a group of New York stage and radio actors were given the keys to a studio and total control, and made a masterpiece.” —Roger Ebert (May 24, 1998) “[Herman] Mankiewicz was an experienced Hollywood hand and veteran of credit brawls who kept all his drafts and materials, and a man who relished trouble. He had ample proof of his authorship, and he took his evidence to the Screen Writers Guild and raised so much hell that Welles was forced to split the credit and take second place in the listing” —Pauline Kael, “Raising Kane - Part 1,” New Yorker (Feb 13, 1971) “Who cares who wrote CITIZEN KANE? Historians of cinema will shriek at the very notion, but we need to remind ourselves that millions of movie watchers couldn’t give a damn either way.” —Anthony Lane, New Yorker
The Belcourt Theatre does not provide advisories about subject matter or potential triggering content, as sensitivities vary from person to person.
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