#Herman J. Mankiewicz

[deadpanwalking]

Orson Welles seated on witness stand at trial of Herman J. Mankiewicz in Los Angeles, Calif., 1943

[15billionyears]

What I’m watching (2024 Edition) || Mank (2020)

[thebestestwinner]

The Best Best Original Screenplay Tournament, Round 3/Elite 8

Just like the upcoming Tonys will be, our little bracket isn't scripted (ain't no scabs here!). But we're still offering plenty of drama, like Dog Day Afternoon's upset over top-seed Pulp Fiction, or The Usual Suspects pulling ahead of Everything Everywhere All At Once in a tight contest!

What will happen in Round 3? Your votes decide!

All polls live for one week. Bracket seeded by IMDb rating.

[ulrichgebert]

David Finchers kunstvoll verschachteltete Filmbiographie über den berühmten, aber etwas anstrengenden und für das Studiosystem zu direkt seine Meinung mitteilenden Drehbuchautor Herman J. Mankiewicz bei der Arbeit am seinem kunstvoll verschachtelten Drehbuch zu Citizen Kane ist nicht der typische David-Fincher-Film. Das erklärt möglicherweise die Enttäuschung, die gelegentlich darüber geäußert wird, dabei ist er recht großartig. Das Drehbuch hat sein verstorbener Vater schon vor Jahrzehnten geschreiben, es setzt ein wenig Grundwissen voraus, zeigt aber schön, wie es dazu kam, daß Mank sich so auf William Randolph Hearst einschoss (Marion Davies hingegen war nie gemeint) und ist insofern etwas kontrovers, als Orson Welles hier einmal nicht als das allumfassende Allround-Genie herüberkommt, aber in Zeiten, wo das wieder erstarkende Studiosystem sich aufführt, als brauche es eigentlich gar keine Drehbuchautoren mehr, vielleicht auch ein nützlicher Hinweis. Außerdem bietet es -wie wir es nicht anders erwarten- einmal mehr eine große Gary-Oldman-Show, für die es sich eigentlich auch schon lohnen würde. So vorbereitet können wir jetzt auch mal wieder Citizen Kane anschauen.

[citizenscreen]

Herman J. Mankiewicz (November 7, 1897 – March 5, 1953) ✍️

[celluloidchronicles]

Citzen Kane

🇺🇸 | May 6, 1941

directed by Orson Welles

screenplay by Orson Wellles, Herman J. Mankiewicz

produced by Mercury Productions, RKO Radio Pictures

starring Orson Welles, Joseph Cotten, Dorothy Comingore, Ray Collins, George Couloris

1h59 | Drama, Mystery

𐄂 not watched

Browse through collections

American Movies | director Orson Welles | writer  Orson Welles | writer Herman J. Mankiewicz | studio Mercury Productions | studio RKO Radio Pictures | actor Orson Welles | actor Joseph Cotten | actress Dorothy Comingore | actor Ray Collins | actor George Couloris

Browse through genres

Drama | Mystery

Links

trakt.tv | letterboxd

[movie-titlecards]

Citizen Kane (1941)

My rating: 8/10

Still one of the most compelling movies about an utterly pathetic asshole ever made. I mean. The writing in this thing alone, holy shit.

[thethirdman8]

Always put a dance scene in your movie 🎬

Citizen Kane (1941, dir. Orson Welles)

[dweemeister]

The Last Command (1928)

Before their professional rupture while making The Blue Angel (1930), both Josef von Sternberg and Emil Jannings came from German-speaking environments to find success in Hollywood. But while von Sternberg’s family emigrated to the United States from Austria in his teenage years, Jannings carved out a reputation of playing larger-than-life protagonists in Universum-Film AG (UFA) films such as F.W. Murnau’s The Last Laugh (1924) and Faust (1926). His rising star spurred Paramount to offer Jannings a short-term contract that lasted two-and-a-half years and six features. Of Jannings’ extant movies at Paramount*, The Last Command is the one that has brought the most acclaim.

We open in 1928 Hollywood. While shooting a Russian Revolution picture, Russian expatriate director Leo Andreyev (an underutilized William Powell) selects Sergius Alexander (Jannings; whose character is living in poverty and takes jobs as a Hollywood extra) out of a heap of casting photos. Leo’s decision to cast Sergius is less magnanimous than it first appears to be, but to say more would be to spoil the ending. While in the dressing room, Sergius reminisces about events a decade prior. Flash back to 1917 Imperial Russia. Grand Duke Sergius Alexander, cousin of the Tsar, Commanding General of the Russian Armies (for students of Russian history and politics, this is analogous to “Chief of the General Staff”), is commanding the tsarist troops to battle Bolshevik revolutionaries. Informed that two actors entertaining his soldiers are actually Bolshevik agents, he orders that they be ushered into his office so that he might humiliate them. Sergius has his way with one of the agents, Leo Andreyev. But for Natalie Dabrova (Evelyn Brent), Sergius finds himself attracted to her. Despite the dangers involved, he keeps Natalie by his side. Revolutionary zeal and Stockholm syndrome be damned, they fall in love. The film will conclude when it flashes back to 1928 Hollywood.

Jack Raymond (later a director of films such as 1930’s The Great Game) plays a brief role as Leo’s conceited Assistant Director.

The circumstances and developments surrounding Sergius and Natalie’s romance is far-fetched and contrived beyond belief. Natalie’s reasons for falling for Sergius – paraphrasing her, that she could never believe that someone could love Russia as much as he – are unintentional comedic gold. The film’s best line appears as Sergius realizes that Natalie is not going to act on her revolutionary beliefs to assassinate him: “From now on you are my prisoner of war – and my prisoner of love.” All credit to intertitle writer Herman J. Mankiewicz (1941’s Citizen Kane, 1942’s The Pride of the Yankees) for that screamer of a line. Whatever political differences between the two main characters melts away because of that.

This writing from journeyman screenwriter John F. Goodrich (1933’s Deluge, 1936’s Crack-Up) and the story from Lajos Bíró (1933’s The Private Life of Henry VIII,1940’s The Thief of Bagdad) points to a larger problem regarding the film’s political depictions. Never mind the ideological chasm that exists between a man sworn to uphold the tsarist establishment and a woman to whom that very establishment is the embodiment of all that she and her comrades find loathsome. The Last Command, in keeping with Western attitudes towards the Bolsheviks, is decidedly sympathetic towards Imperial Russia, rather than the inebriated, murder-hungry proletariat mob that wants nothing but bloodshed. There is no political nuance to these depictions. Tsarist Russia is honorable, the unquestionably legitimate state; the Bolsheviks’ demands flattened to simply mindless violence for the sake of it. This is not to deny the facts that there were decent people serving the Tsar nor that the Bolsheviks engaged in excessive violence, but that the film overly simplifies the conditions in 1917 Russia.

Despite his status as one of the most accomplished Hollywood directors working during the transition from silent film to synchronized sound, Josef von Sternberg disdained the Studio System and producer control over filmmaking (if only he was alive to see how things are today!). In The Last Command’s bookending scenes in 1928 Hollywood, von Sternberg takes aim squarely at Hollywood norms. Note the arrogance in which the Assistant Director conducts himself in front of all the extras. How infuriating it must be for the audience when he chastises the elderly Sergius for correcting him about a detail on a Russian general’s uniform: “I’ve made twenty Russian pictures. You can’t tell me anything about Russia!” Filmmaking in this environment, according to The Last Command, is exploitative. There is little to no regard about the wellbeing of all the extras scraping by with a meager day’s wages. As for Leo’s intentions for Sergius, the psychological cruelty in which he directs him is something he may or may not come to regret in the film’s final seconds. In those closing shots, the Assistant Director’s pithy remark encapsulates Hollywood’s wanton disregard for those uncredited many who wove themselves into the magical fabric of Old Hollywood.

The film’s most narratively crucial scenes – excluding the romantic scenes between Sergius and Natalie – make excellent use of extras and the blocking of extras. Whether it is the scene where the Bolsheviks drag Sergius off the train and threaten to hang and mutilate him or the film’s final scene on the studio soundstage, there is a bustling of activity in the background. Von Sternberg and cinematographer Bert Glennon (1939’s Stagecoach and Drums Along the Mohawk) vivify The Last Command with these masses of people. Look at the furious, grasping hands as Sergius as the Bolsheviks tear his outer layers off in the cold – this might not approach the violence of Sergei Eisenstein’s Battleship Potemkin (1925), but that is because the anger here is directed at a solitary figure. The crew behind the camera and the extras reacting organically to Sergius’ acting adds to Jannings’ memorable performance in the climax, empowering a scene very obviously shot on a soundstage.

Somehow, these critical framing scenes from The Last Command escaped the attention of Paramount executives during the film’s production. When learning about them only after seeing the final product, they planned to prevent the film’s release. Also citing von Sternberg’s portrayal of the Russian Revolution (including portraits of Stalin and Trotsky), Paramount’s executives only relented when an unnamed Paramount stockholder compelled them to release The Last Command.

In spite of the questionable central romance and its poor historical representations, The Last Command thrives due to Jannings’ performance. Paramount wanted Jannings for this role due to his reputation as a theatrical, bombastic actor. He does not disappoint here. Taking a page from his performance in The Last Laugh, Jannings’ character similarly takes pride in an article of clothing. Where in The Last Laugh he loses his doorman’s uniform, Jannings regains a general’s uniform in The Last Command. With it, an utterly broken man finds a modicum of self-respect (at the very least), or perhaps it resurfaces the jingoist that once was. The physical transformation and mental turn Jannings embodies is absolutely compelling and deeply tragic. Art then begins to replicate the past too faithfully. Man and character become the same. Jannings won the inaugural Academy Award for Best Actor for The Last Command and The Way of All Flesh (1927)‡, despite German Shepherd Rin Tin Tin (1922’s The Man from Hell’s River, 1925’s The Clash of the Wolves) receiving the most votes in the category. The Academy of Motion Picture Arts and Sciences (AMPAS), wishing to be taken seriously and not wanting to bestow the inaugural Best Actor statue to a dog, gave the award to the runner-up, Jannings.

Back in Weimar Germany, Jannings and von Sternberg would work together on The Blue Angel (1930) – their finest collaboration with each other. But the two clashed repeatedly while making The Blue Angel, mostly over von Sternberg’s fawning over Marlene Dietrich during production. Von Sternberg returned to America and remained with Paramount until 1935, and his Hollywood standing rose alongside Marlene Dietrich's. Following the end of that contract, he bounced around various Hollywood studios, never again finding the cinematic footing he had while at Paramount. By contrast, Jannings remains in the German film industry following The Blue Angel and starred in several Nazi propaganda films that, after the end of World War II, made him unemployable.

As if foreshadowing Sunset Boulevard (1950), The Bad and the Beautiful (1952), and even Singin’ in the Rain (1952), this dramatic unpackaging of Hollywood’s dark underbelly has elements of scathing satire that form the backbone of the its best moments. No matter the mutual accusations of imperiousness, Jannings and von Sternberg while on set of The Last Command, pieced together a film that obscures its true messaging beneath its ridiculous romance.

My rating: 8.5/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

* The Way of All Flesh (1927), The Patriot (1928), and Street of Sin (1928) are lost; Sins of the Fathers (1928) is only rumored to be intact; and only The Last Command and Betrayal (1929) are extant.

‡ The 1st Academy Awards was the only ceremony in which actors and actresses were nominated for a body of work, rather than their work on an individual film.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[mask131]

What Oz could have been: the 1939 movie

Last time I talked about what Disney's "Oz: The Great and Powerful" would have originally looked like, based on the first version of the script. But today I want to talk about THE big Oz movie, THE classic: the 1939 MGM movie.

Everybody knows this picture, it became iconic and cult, and is such a big part of culture today... Yet, you might be surprised to learn that the movie could have ended up looking VERY different from the one we know today.

Indeed, the "Wizard of Oz" script kept being written and re-written and re-re-written by a dozen of different authors and co-authors, to the point that when it came time to credit who was behind the script problems arose to find an exact name to put on there... If you want to know the detail: a first draft was by William H. Cannon, Mervyn LeRoy's assistant, before the contracts were set and when everything was just beginning. Once the project started, the first full scenario was written by Irving Brecher, but he was then overtaken by another project and replaced by Herman J. Mankiewicz, who worked for one month over the script until a co-author arrived in the form of Ogden Nash. Then a third author joined the team: Noel Langley (he was the one who had the idea of changing the Silver Slippers in Ruby Slippers, and he brought the idea that the three Oz companions would have counterparts as farm helpers in Kansas). HOWEVER Mankiewicz ended up quitting the team. He was replaced by Herbert Fields, who only stayed for three days and didn't change anything, before being also replaced by Samuel Hoffenstein, who also only stayed for a few days without modifying much (or anything). FINALLY Noel Langley gave back the final product of the writers' team... Which of course was edited, rewriten and modified by a second team, formed of Florence Ryerson and Edgar Allan Woolf. They were then brutally moved to another movie, and the script returned into the hands of Noel Langley to be again rewriten and adapted. One month before the movie started Noel Langley was given another co-author, Jack Mintz, and the second "final" scenario was delivered... Before being corrected and modified by a new author recently brought by Victor Fleming, John Lee Mahin. And THEN it was done!

Of the fourteen different authors that worked on the script, only three ended up being given credit in the final picture: Noel Langley, Florence Ryerson, and Edgar Allan Woolf.

The result was a project that varied wildly in production. In fact, while the final movie is still vaguely faithful though a bit loose adaptation of the original novel - the very first drafts of the movie had NOTHING to do with the original novel. The "faithfulness" to Baum's Wizard of Oz can be considered almost an accident as each rewrite got closer to Baum's story, only in an effort to get away from the older script... Anyway, here are some highlights and best-offs of the Oz movie we could have had:

The MGM movie has a lot of deleted scenes and songs, that were recorded but not included in the movie. Hopefully a lot of them were released online and can be easily found on Youtube, or elsewhere on the Internet. Most of them were cool reprises that were cut short for time: for example the song "The Wicked Witch is Dead" had a reprise after the death of the Witch of the West, sung first by the Winkies Guards and then morphing into the song being sung by the Emerald City denizens (fragments of this reprise were still used in trailers for the movie). There is also the very famous "Over the Rainbow" reprise that a scared, crying Dorothy was to sing while trapped in the Witch of the West's castle, before the Witch taunted her with an image of Aunt Em in the crystal ball. The reprise is REALLY touching and Judy Garland really put her best in there. There are also alternate takes which reveal a lot about what the movie was intended to be - for example we have alternate records of the "Lollypop Guild" which shows that the high-pitched voice of the final movie was actually an intent to create a "little boys" voice, to match the little girls of the Lullaby League.

The most famous of all these deleted songs is without a doubt the "Jitterbug" song. It was only cut at the last minute, and this brutal removal leaves bizarre remnants in the final movie (for example the Witch says she "sent a bug" to take care of Dorothy and her friends ; and when the Flying Monkey arrive they look sweating and exhausted). This was because originally the Wicked Witch of the West was supposed to send to the heroic party a magical bug (the titular "Jitterbug") that would have forced them to dance until exhaustion, so the Winged Monkeys could easily pick them up. This was however removed out of fear this would date the movie, and they were very much right... Because the entire pun on which the scene relies does not work anymore today: the "Jitterbug" being a specific style of dance very popular in the 1930s and 1940s, but that stopped existing beyond the 1960s. However the "Jitterbug song" earned enough of a fame to get included into the recent "Tom and Jerry" animated movie of "The Wizard of Oz".

Originally, a child-actress was envisioned for Dorothy, and the first choice was Shirley Temple. She declined (but she would later play the role of Tip/Ozma in a Marvelous Land of Oz production). When Judy Garland was cast, there were attempts at giving her a makeup that would make her look more like a child - but everybody pointed out it made her into a ridiculous "baby doll". The first plans were also to have Dorothy be blond, as she was in later Oz books.

Everybody knows the iconic, creepy look of the Wicked Witch of the West, but did you know she was supposed to be... beautiful? One of the main and biggest inspirations for the MGM movie was the huge success of Disney's Snow-White and the Seven Dwarfs. Since they attempt to recreate it, their original plan for the Wicked Witch of the West was to have her be a beautiful villainess evoking the Evil Queen of Disney. The original actres cast for this "glamorous witch" was Gale Sondergaar, and we still have shots of her in costume. However it was later decided to make the witch into an uglier, more grotesque character evoking a traditional fairytale hag. Mervy LeRoy was the one who wanted to have the "glamorous, sexy" witch but many (among which Arthur Freed) defended the idea that the witch had to be like Disney's old crone, not evil queen... So they decided to recast the role - leading to the arrival of the one of a kind Margaret Hamilton.

Speaking of the Wicked Wich: One of the original plans for the character was to have her be the Oz counterpart of... Aunt Em. Indeed, no Miss Gulch of any kind. Early on, Aunt Em was considered to be a meaner and colder caretaker to Dorothy, and the one who wanted to get rid of Toto - which explains why she became the Wicked Witch of Oz. (This idea was by Langley, the one who also had the idea of making Dorothy's companions into the farm-helps of Kansas) The Wicked Witch also had a son, Bulbo, an ugly and dim-witted man she wanted to make King of Oz, and who was... the counterpart of Uncle Henry. Later, when the character of Miss Gulch was created, she was given a son named Walter to match Bulbo, before the character was scrapped altogether.

The Jitterbug scene was actually a left-over of a much earlier version of the movie which would have put a strong emphasis on the "musical aspect". This version wanted Oz to be under the tyranny of a spoiled brat of a princess that would have outlawed all forms of music that were not classical music and opera ; young and hip Dorothy, however, would have brought the swing and the jazz from the 1930s USA and used it to win over the princess in a singing duel, and becoming a hero in Oz. Who would have played the princess? I had conflicting reports: some say Deanna Durbin (one of the early candidates for playing Dorothy, alongside Shirley Temple) was considered for the role ; others said it would have been Betty Jaynes playing a certan "Princess Betty".

The earliest version of the script we have (created by William H. Cannon) was heavily inspired by the 1925's Wizard of Oz movie (because yes, there were Wizard of Oz movies before the MGM one), and wanted to remove all forms of magic and supernatural from the story. The brainless scarecrow would have been a man so dumb the only job he could find was to scare crows in fields ; the Tin Man was supposed to be a heartless criminal that the law had forced to wear a suit of tin as a punishment, punishment which did encourage him to learn kindness...

Oh yes, everybody noted in the final movie how Dorothy favorizes the Scarecrow above the other companions. This is a remnant of the scenario drafts wher the final scene of the movie would have been the teary farewell of Dorothy to Hunk, as he leaves for agricultural college and she promises him to write him every day - implying a romance between the two...

People might note a bizarre editing during the scene of the companions freeing Dorothy - such as the door being axed down not corresponding to the door the group escapes from. This is due to yet another cut sequence: the door the companions axed down was to be a trap by the Wicked Witch, who was to imitate Dorothy's voice and song to lure the companions. Once she had captured the three friends, she would have used them as baits, forcing them to call out for Dorothy and to encourag her to take a magical "rainbow bridge" that appeared out of nowhere... Except said bridge would have been created by the Wicked Witch's magic, and while the rainbow was solid enough to walk onto for a certan distance, at one point it returned to being just light. The Witch hoped to kill Dorothy by doing this - but didn't count on the Ruby Slippers' magic actually preventing Dorothy from falling through the rainbow.

Before it was decided to have Glinda send snow to kill the cursed poppies, the original concept was that the Tin Man's tears would have awakened Dorothy (an idea that, as people pointed out, was reused in "The Wiz").

There was at one point plans for the Cowardly Lion to actually be just a... a regular lion that tagged along as a sort of pet with the team, and had dubbed lines, to be revealed as "Prince Florizel", a Prince Charming-type of character that had been cursed under the shape of a lion, and would in the end have married his lover, princess Sylvia (this version was one of Noel Langley's, and very influenced by traditional fairytales). This version most notably pushed Dorothy into being a secondary character: it was the Prince/Lion who was to kill the Witch, by somehow cutting her broom so it would fall into pieces while in the air. There was also a dragon the prince was supposed to fight. This version, being Langley's, was the one that included the Witch having a son (see above). In the older versions of this story, the Witch's plan to make Bulbo king of Oz was to have him marry princess Sylvia, heir to the Ozian throne (hence why Florizel's feud with the Witch is personal) ; later it was changed to the Witch planning to attack the Emerald City and dethrone the Wizard with an army of men, wolves and winged monkeys.

When the MGM learned that Disney was working on their own adaptation of the Wizard of Oz back then, there were brief talks of the two studios uniting their efforts to make a half-live-action, half-animated movie.

During the scene where the Wicked Witch threatens the companions at the cottage in the forest, the Witch was supposed to threaten the Tin Man by briefly turning him into a "beehive", aka filling him with bees, and after crushing one of the insects the Tin Man would have cried, causing his jaw to rust and be blocked.

Early on, there were plans to keep Oz as an actual magical place that truly existed - but the movie-makers of the time considered fantasy was not "sophisticated" and "serious" enough for the audiences, and so they added the entire idea of Oz being shown as a dream-world so adults could "buy" the movie.

[opencharacters]

I saw on a Wikipedia list of things entering the public domain that Herman J. Mankiewicz's work enters the public domain. What does this mean for Citizen Kane, if it's not in the public domain now when do you think it'll be within the public domain?

In the US it becomes public domain in 2037.

So i think legally speaking it doesnt affect anything other than we are one year closer to it being public domain. Usually from a legal standpoint its not enough for just the screenplay to be public domain its usually treated as a package deal, so either all of it is public domain or none of it.

There are odd cases like It's a wonderful life where its based on a copyrighted book and the soundtrack was bought by republic in order to keep a hold of it because it lapsed into public domain as they realized how valuable it was.

Good question, hope this answers it for you

[themightyfoo]

The story goes that Cary Grant and Randolph Scott tricked in this pool and nearly got caught.

WR Hearst was quite a prig. He was also a teetotaler: San Simeon was dry. The guests had to sneak booze in.

Herman Mankiewicz wrangled several invitations to visit, but eventually tangled with Hearst about the booze ban (among other reasons). Hearst kicked him out and barred his return. Mankiewicz got his revenge, writing little digs at Hearst into Citizen Kane (like "Rosebud").

Blue Roman Pool at William Randolph Hearst's Castle in San Simeon, California, UNITED STATES

[thebestestwinner]

See pinned post for the full bracket!

[brookstonalmanac]

Birthdays 11.7

Beer Birthdays

Gary Fish (1956)

Steve Altimari (1960)

Jason Petros (1977)

Five Favorite Birthdays

Albert Camus; French writer (1913)

Marie Curie; French chemist, physicist (1867)

Al Hirt; trumpet player (1922)

Joni Mitchell; Canadian singer, songwriter (1943)

Morgan Spurlock; documentarian (1970)

Famous Birthdays

Ignaz Brüll; Austrian pianist and composer (1842)

Nellie Campobello; Mexican writer (1900)

James Cook; English explorer, naval officer (1728)

Gédéon Tallemant des Réaux; French author and poet (1619)

Francisco de Zurbarán; painter (1598)

Ed Dodd; cartoonist (1902)

Poppin’ Fresh; Pillsbury Doughboy character (1965)

Madeline Gins; poet and architect (1941)

Billy Graham; television evangelist (1918)

Ibn Hazm; Arab philosopher (994 C.E.)

Dean Jagger; actor (1903)

Norman Krasna; film director, screenwriter & playwright (1909)

R. A. Lafferty; author (1914)

Lorde; New Zealand singer-songwriter (1996)

Konrad Lorenz; Austrian zoologist (1903)

Herman J. Mankiewicz; film director & screenwriter (1897)

Kitty Margolis; jazz singer (1955)

Jan Matulka; Czech-American painter (1890)

Norah McGuinness; Irish painter (1901)

Lise Meitner; physicist, mathematician (1878)

Philip Morrison; astrophysicist (1915)

Lucas Neff; actor (1985)

Lawrence O'Donnell; journalist and talk show host (1951)

Paul Peel; Canadian painter (1860)

Dana Plato; actor (1964)

C.V. Raman; Indian physicist (1888)

Charles Ranhofer; Delmonico’s Restaurant chef, author of “The Epicurean” (1836)

Johnny Rivers; rock singer (1942)

Jean Shrimpton; English model (1942)

Antonio Skármeta; Chilean author (1940)

Ellen Stewart; film director (1919)

Joan Sutherland; Australian opera singer (1926)

Judy Tenuta; comedian (1949)

Leon Trotsk;, Russian theorist and politician (1879)

Lesser Ury; German painter (1861)

Andrew Dickson White; historian (1832)

[citizenscreen]

Screenwriter Herman J. Mankiewicz (November 7, 1897 – March 5, 1953)

[thethirdman8]

Happy Citizen Kane Day baby..