Read Ebook {PDF EPUB} The Book by The Citizen Kane Book by Pauline Kael. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660a81277a97d729 • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Citizen Kane Book by Pauline Kael. Paperback. Condition: Good. Profusely Illustrated (illustrator). Connecting readers with great books since 1972. Used books may not include companion materials, some shelf wear, may contain highlighting/notes, may not include cdrom or access codes. Customer service is our top priority!. More buying choices from other sellers on AbeBooks. THE CITIZEN KANE BOOK. PAULINE KAEL. Published by BANTAM. Used Condition: Good. Condition: Good. 2021/SURFACE WEAR. The Citizen Kane Book. Herman J. Mankiewicz,,Pauline Kael. Published by HarperCollins Distribution Servi, 1974. Used - Softcover Condition: Good. Paperback. Condition: Good. All orders are dispatched the following working day from our UK warehouse. Established in 2004, we have over 500,000 books in stock. No quibble refund if not completely satisfied. More buying choices from other sellers on AbeBooks. Citizen Kane Book & Shooting Script. Kael, Pauline. Published by BANTAM BKS UK. Used - Hardcover Condition: Fair. Condition: Fair. Acceptable condition. Front hinge cracked. Highlighting inside. Owner's name on inside. Citizen Kane" Book. Kael, Pauline, Mankiewicz, Herman J., Welles, Orson. Published by Methuen Publishing Ltd, 1985. Seller: WeBuyBooks, Rossendale, LANCS, United Kingdom Contact seller. Used - Softcover Condition: Good. Paperback. Condition: Good. A few small marks to page edges Good condition is defined as: a copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned. Most items will be dispatched the same or the next working day. More buying choices from other sellers on AbeBooks. The Citizen Kane Book: Raising Kane; The Shooting Script. Kael, Pauline. Mankiewic, Herman & Orson Wellesz. Published by Secker & Warburg, 1971. Used - Softcover. 1st edition large sized 4to and substantially thick so postage likely extra. VG in Kane illus. card covers. More buying choices from other sellers on AbeBooks. The Citizen Kane Book. Kael, Pauline. Published by Bantam Books, New York., 1974. Used - Softcover. Paperback. 1st Paperback Edition. Inclds. Pauline Kael's controversial essay "Raising Kane" + the shooting script by Herman J. Mankiewicz & Orson Welles & the cutting continuity of the completed film. Illus. w. 81 frames from the film. Uncommon in this edition. A tight unread copy. Fine. Laid in the book is a nice postcard with a repro of the original Kane poster and a paper advance reading copy of "Afterglow" a last conversation with pauline kael. Very light wear to covers. sold as a collection only. Citizen Kane" Book (Screen and Cinema) Welles, Orson; Mankiewicz, Herman J.; Kael, Pauline [Foreword] Published by Methuen Drama, 2002. New - Softcover Condition: New. Paperback. Condition: New. The Citizen Kane Book. Kael, Pauline. Published by Martin Secker and Warburg Ltd, 1971. Used - Hardcover Condition: Good. Hardcover. Condition: Good. Good condition. Light wear to boards. Content is clean and bright. Good DJ with some edge wear and creasing. 440pp. More buying choices from other sellers on AbeBooks. THE CITIZEN KANE BOOK: RAISING KANE BY PAULINE KAEL + THE SHOOTING SCRIPT BY HERMAN J MANKIEWICZ & ORSON WELLES, NOW, PUBLISHED FOR THE FIRST TIME & ILLUSTRATED WITH 81 FRAMES FROM THE FILM & THE CUTTING CONTINUITY OF THE COMPLETED FILM (Original large format edition) WELLES), KAEL Pauline, MANKIEWICZ Herman J & WELLES Orson. Published by Little Brown, 1971. Cloth DW (sl fyd) 440pp illus.Ex-Univers, cover edge sl shelf-rubbed, otherwise internally clean & bright VG+. Citizen Kane Book (The). The Shooting Script of Citizen Kane by H. J. Mankiewicz and Orson Wells. KAEL PAULINE. Published by METHUEN, London, 1985. In-8, di pag. 297, con molte ill., br., perfetto. The Citizen Kane Book. KAEL, Pauline, Herman J. Mankiewicz and Orson Welles. Published by Atlantic Monthly Press, Boston, 1971. Used - Hardcover Condition: Near Fine. Cloth. Condition: Near Fine. Dust Jacket Condition: Chipped. First Edition. (440pp). Fully illustrated. Comprising 'Raising Kane' by Pauline Kael and 'The Shooting Script' by Hermann J. Mankiewicz and Orson Welles. Dust jacket chipped, name-stamp, otherwise excellent clean firm unmarked copy Size: Quarto. Hardcover. Citizen Kane Book. Kael, Pauline. Published by Bantam Doubleday Dell, 1974. Used - Softcover Condition: Good. Paperback. Condition: Good. Item is in good condition. Some moderate creases and wear. This item may not come with CDs or additional parts including access codes for textbooks. Might be an ex-library copy and contain writing/highlighting. Photos are stock pictures and not of the actual item. More buying choices from other sellers on AbeBooks. The Citizen Kane Book. Kael, Pauline & Herman J. Mankiewicz & Orson Welles. Published by Boston: Atlantic Monthly/Little Brown), 1971. Used - Hardcover. Hardcover. Dust Jacket Included. First Edition. Fine hardcover in a Near Fine price-clipped dj (small 1/2" tear to top rear dj panel and same to lower front dj panel; small 1/4" tear/crease to lower dj spine). A very nice copy - clean text, tight binding, and a clean and bright dj. First Edition, First Printing. Illustrated with 81 b/w frames from the film. Includes "Raising Kane" by Pauline Kael and "The Shooting Script" by Herman J. Mankiewicz and Orson Welles. 440pp. Scarce. The Citizen Kane Book. Pauline & Mankiewicz Herman & Welles Orson Kael. Published by Boston: Atlantic- Little, Brown & Company, 1971 January 1971, 1971. First Edition Signed. Used - Hardcover Condition: Very Good. Oversized Hardcover. Condition: Very Good. Dust Jacket Condition: Fair. First Edition. Signed on half-title page by Pauline Kael. Jacket badly chipped. Signed By Author. THE CITIZEN KANE BOOK: RAISING KANE and the SHOOTING SCRIPT. Kael, Pauline, Herman J. Mankiewicz and Orson Welles. Published by Little, Brown & Co, Boston, 1971. Used - Hardcover Condition: Very Good. Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. In VG DJ; Signed by author (Kael). Gray cloth hardback. 440 pp. B&W photos. Appendix, index; 4to; 440 pages; Signed by Author. The Citizen Kane Book. KAEL, PAULINE. Published by Boston Little Brown 1971, 1971. First Edition Signed. Used - Hardcover. First Edition. Signed and inscribed by the author, Pauline Kael: �For Dick & Merle & Moxie - with love, Pauline.� This is the rarest of Kael�s work. Pauline Kael�s essay claiming that Welles did not write any of the Citizen Kane screenplay has now been thoroughly disproved and discredited with research from the RKO archives, and Robert Carringer�s thorough study, �The Making of Citizen Kane�. Still, the book does contain as its redeeming feature the first printing of the Citizen Kane screenplay and the cutting continuity. Illustrated. Lightly used copy in a bright dust jacket with a tiny bit of wear. Listed in 100 Books on Hollywood & the Movies. THE CITIZEN KANE BOOK. The only name that doesn't belong above is that of Orson Welles', for if Citizen Kane was not only his greatest movie but is still as fresh as the day that it opened, he had nothing to do with "The Shooting Script" which, along with takes from it, and notes by Gary Carey, constitute three quarters of this book. The first quarter (which appeared in The New Yorker as "Raising Kane") is Pauline Kael's interpretive essay on the movies of the '30's, as honestly antiarty as she is, and on this 'shallow' but great masterpiece which appeared before this country began to "hate itself." Mankiewicz, one of those fabulous originals long since forgotten, scripted it in plaster casts (he drank as well as gambled compulsively) and Miss Kael's piece if nothing else is restitutive and also recalls an era when leonine figures like Hearst and Welles (Mankiewicz on Welles: "There but for the grace of God goes God") towered above a simpler landscape. Miss Kael's piece is, expectably, spankingly entertaining as well as informative and the dual project will have its new-old appeal. Pub Date: Oct. 28, 1971. ISBN: 0413582906. Page Count: 314. Publisher: N/A. Review Posted Online: Aug. 5, 2013. Kirkus Reviews Issue: Oct. 1, 1971. Share your opinion of this book. Did you like this book? More by Pauline Kael. Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis. THE ELEMENTS OF STYLE. 50TH ANNIVERSARY EDITION. Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings. Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal"). There but for the grace of God, went God. Such is the present modishness of film that unbelievably windy books proliferate, my current favorite being “The Nature of Film,” by Siegfried Kracauer, special assistant to the curator of the Modern Art Film Library. In this weighty tome, the outspoken Kracauer comes right out and says, “. films go beyond photography in two respects. First, they picture movement itself, not only one or another of its phases.” Raising Kane. By Pauline Kael. The Shooting Script. By Herman J. Mankiewicz and Orson Welles. Illustrated. 440 pp. Boston: An Atlantic Monthly Press Book. Little, Brown & Co. $15. Another film scholar, Roger Manveil, asks, in “The Living Screen,” what is film, and sapiently replies: “The physical facts are simple enough. If it lasted, say ninety minutep, it was 9,000 feet of celluloid film—that is, just under a mile and three‐quarters—and it was 35mm. wide.” What, then, is a book? A book is made from trees. Little‐sellers from few trees, Erich Segals from forests. (Too many Erich Segals, in fact, could be ecologically disastrous, creating another dust bowl, but let it pass, let it pass.) The trees are made into paper on which publishers print things the author has written. These things are called words. Most film books are filled with little words, big words, but no illuminating words. Other film irritants are that these inflated days there is almost no oldtime hack thriller director who is without his attendant cult, and such is the hyperbole most film reviewers are given to that hardly a week passes without its masterpiece or film‐of ‐ the ‐ decade, but who now would take “Brief Encounter,” let alone “Blow‐Up,” seriously? Most of yesteryear's film classics resurface on TV only to embarrass us. This preamble to explain that I approached “The Citizen Kane Book” (a double‐decker, which includes “Raising Kane,” a lengthy essay by Pauline Kael, as well as the shooting script by Herman Mankiewicz and Orson Welles) with a certain hostility. What a pleasure, then, it is to greet a film book that is not only unblemished by jargon, the usual cant, but is also a highly intelligent and entertaining study of a bona‐fide film classic, “Citizen Kane.” In her wonderfully sensible reconstruction of the making of “Kane,” Miss Kael writes, “It is difficult to explain what makes any great work great, and particularly difficult with movies, and maybe more so with ‘Citizen Kane’ than with other great movies, because it isn't a work of special depth or a work of subtle beauty. It is a shallow work, a shallow masterpiece. Those who try to account for its stature as a film by claiming it to be profound are simply dodging the problem—or maybe they don't recognize that there is one.” Miss Kael goes on, with commendable impatience, to dismiss those pretentious critics who would crown “Kane” “a tragedy in fugal form” or explain that the hero is time. “What might possibly be considered tragic in it has such a Daddy Warbucks quality that if it's tragic at all it's comic‐ strip tragic. The mystery in ‘Kane’ is largely fake, and the Gothicthriller atmosphere and the Rosebud gimmickry (though fun) are such obviously penny‐dreadful popular theatrics that they're not so very different from the fake mysteries that Hearst's American Weekly used to whip up—the haunted castles and the fulfilled.” Even so, “Citizen Kane” is a masterpiece, as Miss Kael justifiably insists, surely the most complete work of art ever to emerge from Hollywood. In “Raising Kane,” Miss Kael, with a fine ear for the period and its outlandish absurdities, recounts how the film, made for the most part in secret, miraculously completed for a mere $686,033, was very nearly never distributed for fear of Hearst and his minions —say, the once feared Louella Parsons. She tells how Nicholas Schenk, the chairman of Loew's International, and Louis B. Mayer offered R.K.O., the producers, $842,000 if only they would destroy the negative and all the prints. And this, mind you, for the good of the industry. But entertaining, even illuminating anecdotage aside, Pauline Kael's essay is informed by the serious purpose of cutting Orson Welles down to size, denying his needlessly grandiose claim to having been solely responsible for everything that went into “Kane,” including the script and photography. She insists on the importance of Gregg Toland, the photographer, and, above all, sets out to demand that honor be paid at last to Herman Mankiewicz, effectively the all but sole begetter of the screenplay. “One reason,” she writes, “that Herman Mankiewicz is so little known today is, ironically, that he went to Hollywood so early, before he had gained a big enough reputation in the literary and theatrical worlds.” Possibly, but if Miss Kael's essay has one fault, it is, I fear, that she makes too much of the Al gonquin set ‐ in ‐ exile, the modish screen writers of the period. Far from agreeing that they were “the richest talents of a generation,” I prefer Dorothy Parker's verdict. In her declining years, admittedly adrift on Scotch and bitterness, Miss Parker did take something like the Round Table's proper measure. “People romanticize it. It was no Mermaid Tavern, I promise you. These were no giants. Think of who was writing in those days—Lardner, Fitzgerald, Faulkner and Hemingway. Those were the real giants. The Round Table was just a lot of people telling jokes and telling each other how good they were. It was the terrible day of the wisecrack. There's nothing memorable about them [but] so many of them have died. My Lord, how people die.” In any event, Mankiewicz who, prior to “Kane,” had worked on “Duck Soup” and “A Night at the Opera,” and later declined, for the most part, into endless hack work, does emerge as the most engaging figure in the engrossing “Kane” story. His wit is of course celebrated and remains an integral part of any study of Hollywood. “There but for the grace of God, goes God,” he observed of Welles crossing the “Kane” set, and when Harry Cohn, the legendary boss of Columbia, once told him that he had one infallible test of a film's merit (“If my fanny squirms, it's bad. If my fanny doesn't squirm, it's good.”), , though in dire need of a job at the time, replied, “Imagine, the whole world wired into Harry Cohn's ass!” and never worked for Columbia again. He was an immensely self‐destructive man. A compulsive gambler, prodigious drinker. He was also, from his earliest Hollywood days, regular at Hearst's baronial banquet hall in San Simeon, something which he put to good if cruel use in his “Kane” script. The script, alas. For the truth is that Miss Kael's excellent case for Mank is in the end more than somewhat vitiated by the publication of the script itself. The script for “Kane,” albeit clever, even technically brilliant, is also superficial and without one quotable line. To Welles, then, however vain and objectionable his manner, rococo his style, must go the ultimate credit for the miracle of “Citizen Kane.” He had the enviable cervices of Gregg Toland and Mankiewicz, he undoubtedly benefited from a crew fired with rare enthusiasm, but he was the one who did in fact put it all together. Something, should make it clear, Miss Kael would be the last to deny him. For she concludes her truly admirable study on a poignant note: “The Mercury players had scored their separate successes in ‘Kane,’ and they went on to conventional careers; they had hoped to revolutionize theater and films, and they became part of the industry. Turn on the TV and there they are, dispersed, each in old movies or his new series or his reruns. Away from Welles and each other, they were neither revolutionaries nor great originals, and so Welles became a scapegoat — the man who ‘let everybody down.’ He has lived all his life in a cloud of failure because he hasn't lived up to what was unrealistically expected of him. No one has ever been able to do what was expected of Welles—to create a new radical theater and to make one movie masterpiece after another— but Welles's ‘figurehead’ publicity snowballed to the point where all his actual and considerable achievements looked puny compared to what his destiny was supposed to be. In a less confused world, his glory would be greater than his guilt.” The Citizen Kane Book by Pauline Kael. Given the recent discussion surrounding the New Yorker magazine’s attacks against Orson Welles, whether in 1945, or most famously in 1971, by Pauline Kael, it’s somewhat bizarre that today I should stumble across the May, 1972 issue of Films and Filming, right outside my house, at the Alamo Square flea market where I saw an article by the iconoclastic director Ken Russell, giving us a spirited defense of Orson Welles! Since, at that time, Ms. Kael welded considerable power with her reviews, it’s quite understandable that not many directors were willing to rush to Welles’s defense, except, of course, , who allowed Welles to write a detailed rebuttal to Ms. Kael’s charges, “The Kane Mutiny,” under his own name. But, until today, I had never heard anything about Ken Russell’s “tell it like it is” piece, so without any further ado, here it is: KEN RUSSELL writes on RAISING KANE. Films and Filming – May, 1972. GET HOLD OF THIS BOOK—it’s dynamite. Within its pages are all the good bits of every film made up till 1941 and all the good bits of every film made after 1941. ‘IT’S A SHALLOW MASTERPIECE’, shrills Miss P. Kael, New Yorker columnist. OK Miss Kael, but these are the only masterpieces that work on celluloid. Something to do with silver nitrate molecules, pop-corn and necking in the back row, perhaps—it’s a mystery that will never be solved but it’s a fact nevertheless. And this annoying, unfathomable fact explains why Godard is relegated to the half-empty Art Houses and why On the Waterfront packs them in at the Odeon. I never knew until last night that Sir Michael Tippett was a film fan. He was on TV delving into that hoary old topic of the role of the artist in society and, to his credit, saying something fresh, illuminating and profound. The moment of truth for him—the moment his conscience awoke and his musical aspirations became clear—occurred at a screening of The Four Horsemen of the Apocalypse over 40 years ago. There followed the inevitable ‘clip’, the stilted acting of Valentino, shots of a very rustic French plaster village being blown to pieces on a Hollywood lot and shots of four Hollywood stunt men riding up a ramp through cardboard clouds and dry ice. What is it that can move both a sensitive intellectual artist like Tippett and the very unsophisticated masses? It’s certainly not art—so forget art: whatever it is let’s have more of it. It is the very quality we have in abundance in Citizen Kane . So half the book is wonderful—the script and stills part. The other part, Miss Kael’s part—now that Plcturegoer and Picture Show are defunct—provides a gossipy Hedda Hopperish, Louella Parsonsish background to the film itself. She devotes at least 30 pages of shallow surmise in attempting to prove that a washed-up, drunken Hollywood bum was wholly responsible for the script but was blackmailed into sharing the credit with Welles. All directors are the same, she screams, they always steal the poor screenwriter’s credit. The only Hollywood writer I ever worked with, in fact, stole my credit. When the script came back from the printers with his name, and his alone, emblazoned all over the place I naturally objected. ‘But I did write it, Ken’ he protested. ‘OK, so you dictated it, but who was the guy who typed it all out.’ Too much of Welles is in the film for it not to have been largely by his hand. Compare the shooting script with the release script—very little difference. All directors change scripts: Welles always changed everything, Shakespeare included. He would certainly have changed the work of a Hollywood assembly line hack completely out of recognition. No—it’s all Orson. So let’s celebrate. It’s been long overdue. Close down the Film Schools (they only film each other fucking—if a Royal College Student is to be believed—and the Unions won’t let fresh blood into the industry anyway); give everyone a roll of film, a 16mm camera, a copy of the Kane script, turn him loose on the world and stand back. Truffaut started that way—so did I. OK I know, Miss Kael, we’re both phonies. But according to you Welles is the biggest phoney of us all. So we’re in good company.