Herman J. Mankiewicz
Writer, Screenwriter
Herman J. Mankiewicz
Herman Jacob Mankiewicz was an American screenwriter, who, with Orson Welles, wrote the screenplay for Citizen Kane (1941). Earlier, he was the Berlin correspondent for the Chicago Tribune and the drama critic for The New York Times and The New Yorker. Alexander Woollcott, said that Herman Mankiewicz was the "funniest man in New York". Both Mankiewicz and Welles received Academy Awards for their screenplay.
Biography
Herman J. Mankiewicz's personal information overview.
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De Ben Hecht a Avatar, esos mismos rentables cuentos - Rebelión
Google News - over 5 years
Se lo enviaba un amigo escritor, Herman Mankiewicz. Aquella invitación le cambió la vida. Tuvo éxito escribiendo más de sesenta guiones, ofició como médico de guiones otras tantas y ganó mucho dinero. Al llegar a Hollywood en 1925, su amigo Mankiewicz
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Nueva York, poetas y 'martinis' - El País.com (España)
Google News - over 5 years
En uno de los bares del hotel, estilo art nouveau y con frescos que recuerdan la famosa "Mesa Redonda" de los años veinte, por la que pasaron personalidades como Herman Mankiewicz y Harpo Marx, y donde Harold Ross inventó The New Yorker,
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Comics Unleashed: Hilarity by Laugh-Track - LifeGoesStrong
Google News - over 5 years
American man of letters Ben Hecht — sometimes called the Shakespeare of Hollywood for his talents as a screenwriter — was first summoned to Hollywood by his friend and fellow scribe, Herman Mankiewicz, who wrote to him in 1926 via telegram: "Millions
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Ben Mankiewicz warms to role as ASO host - NorthFulton.com
Google News - over 5 years
Mankiewicz then moved to Los Angeles nearly 75 years after his grandfather, screenwriter Herman Mankiewicz arrived and wired his friend Ben Hecht back in New York, "Millions are to be grabbed out here, and your only competition is idiots
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My five… - The Hindu
Google News - over 5 years
Welles as both director and screenwriter (with Herman Mankiewicz as co-writer) shows his multi-faceted interests. The ground-breaking camera work switching over from mise-en-scène to continue the narration is quick making it a pioneer of 'disrupted
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Obra de Orson Welles forjou sua fama e tradição ao longo do tempo - Estadão
Google News - almost 6 years
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Aos 70 anos, Cidadão Kane ainda é considerado o maior dos filmes - Vermelho
Google News - almost 6 years
Foi o único detalhe do filme que ele atribuiu sem restrições ao roteirista Herman Mankiewicz, para quem se recusava a dar crédito em quase todas as outras partes. O problema da autoria de Cidadão Kane - a autoria de sua genialidade,
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At the TCM Classic Film Festival: From An American in Paris to Fantasia - Movie City News
Google News - almost 6 years
... Alan Jay Lerner, Edward Anhalt, Richard Maibaum, Gavin Lambert, Ernest Lehman, Arthur Laurents, Dalton Trumbo, Paul Schrader, Paddy Chayefsky, Woody Allen, Francis Coppola, Tennessee Williams, Horton Foote, Joseph Mankiewicz, and Herman Mankiewicz
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'Citizen Kane' at 70: The Legacy of the Film - The Atlantic
Google News - almost 6 years
With the Mercury players in tow, he enlisted veteran satirist and screenwriter Herman Mankiewicz. Together they crafted a story that began with the death of an enigmatic protagonist, and explored his life through flashbacks told from multiple points of
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El gigante en un mundo de enanos - Revista Ñ
Google News - almost 6 years
Welles dijo después que con el guionista Herman Mankiewicz pensaron al principio en hacer el filme sobre un político, pero descartaron esa idea porque los obligaba a atarse a modelos demasiado precisos y coyunturales. En cambio, dijo, “hablar de
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TCM Fest: 'Kane,' 'Tiffany's' look fabulous in new restorations - New York Post (blog)
Google News - almost 6 years
"Kane'' was introduced by TCM weekend host Ben Mankiewicz, who wasn't shy about claiming sole screenplay credit for his grandfather Herman Mankiewicz, who officially shares credit (and the screenwriting Oscar) with Welles. Mankiewicz said that William
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家明雜感﹕大國民70歲生日快樂! - 香港新浪網
Google News - almost 6 years
除了他的水銀劇團團友(配樂的Bernard Herrmann後來成了美國電影音樂的大師),威爾斯拍《大國民》也跟資深的電影人合作:如編劇Herman Mankiewicz,《大》片後來掀起誰是原創者的爭論,Mankiewicz正是受害人。另一個是自動請纓的Gregg Toland,他當時已是荷李活名牌攝影
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The mark of 'Kane' - Financial Times
Google News - almost 6 years
It was the single detail in Citizen Kane he freely attributed to screenwriter Herman Mankiewicz, whom he fought for credit over almost every other part of the film. The problem of Kane's true authorship – the authorship of its genius,
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70 años de El Ciudadano - El Argentino
Google News - almost 6 years
Para escribir esta película, junto con Herman Mankiewicz, Welles se inspiró en William Hearst, un multimillonario estadounidense de la época, promotor de la llamada “prensa amarilla” y considerado el dueño del mayor monopolio periodístico de todos los
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ON LANGUAGE; Nifty Giftie
NYTimes - about 10 years
''O wad some power the giftie gie us,'' wrote Robert Burns in the Scottish dialect, ''to see oursels as ithers see us!'' The ithers see us through the way we write and speak; at this time of year (''the holidays'' to the ecumenical, ''the selling season'' to publishers, ''winter'' to grouches), we pick a gallimaufry of new books to help us with the
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THE WAY WE LIVE NOW: 11-26-06: ON LANGUAGE; 'To - Be' or not 'To - Be'
NYTimes - about 10 years
Every political editor in the nation expects Representative Nancy Pelosi of California, nominated by Democrats last week to be speaker of the House, to be elected to that post on Jan. 4, 2007, the day the 110th Congress, with its Democratic majority, convenes. The question not yet decided in the media is, What is her unofficial title in the
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The Kane Mutiny
NYTimes - almost 12 years
DESPITE THE SYSTEM Orson Welles Versus the Hollywood Studios. By Clinton Heylin. Illustrated. 402 pp. Chicago Review Press. $24.95. Long ago, while trying to write with F. Scott Fitzgerald a romantic movie based on the Dartmouth College Winter Carnival, this reviewer was asked how he would define his hometown. ''Everybody outside thinks it's so
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THEATER; A Daughter's Footnotes to a Classic Comedy
NYTimes - about 14 years
ANNE KAUFMAN SCHNEIDER may be the last person in New York City with a set of the works of Edna Ferber on her bookshelves. As the daughter of Ferber's friend and playwriting collaborator, George S. Kaufman, Ms. Kaufman Schneider, at 77, very much remembers this once-famous author. Few today can say as much. ''She was awfully popular,'' Ms. Kaufman
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Timeline
Learn about memorable moments in the evolution of Herman J. Mankiewicz
    FIFTIES
  • 1953
    Age 55
    He died March 5, 1953, of uremic poisoning, at Cedars of Lebanon Hospital in Los Angeles.
    More Details Hide Details In looking back on his early films, Pauline Kael writes that Mankiewicz had, in fact, written (alone or with others) "about forty of the films I remember best from the twenties and thirties. I hadn't realized how extensive his career was.... and now that I have looked into Herman Mankiewicz's career it's apparent that he was a key linking figure in just the kind of movies my friends and I loved best. These were the hardest-headed periods of American movies and the most highly acclaimed directors of that period, suggests that the writers in little more than a decade, gave American talkies their character." Director and screenwriter Nunnally Johnson claimed that the "two most brilliant men he has ever known were George S. Kaufman and Herman Mankiewicz, and that Mankiewicz was the more brilliant of the two. and spearheaded the movement of that whole Broadway style of wisecracking, fast-talking, cynical-sentimental entertainment onto the national scene."
  • FORTIES
  • 1939
    Age 41
    In 1939, Mankiewicz suffered a broken leg in a driving accident and had to be hospitalized.
    More Details Hide Details During his hospital stay, one of his visitors was Orson Welles, who met him earlier and had become a great admirer of his wit. During the months after his release from the hospital, he and Welles began working on story ideas which led to the creation of Citizen Kane. Despite Welles' denial that the film was about Hearst, few people were convinced—including Hearst. After the release of Citizen Kane, Hearst pursued a longtime vendetta against Mankiewicz and Welles for writing the story. "Certain elements in the film were taken from Mankiewicz's own experience: the sled Rosebud was based—according to some sources—on a very important bicycle that was stolen from him. and some of Kane's speeches are almost verbatim copies of Hearst's." Most personally, the word "rosebud" was reportedly Hearst's private nickname for Davies' clitoris. Hearst's thoughts about the film are unknown; what is certain is that his extensive chain of newspapers and radio stations blocked all mentions of the film, and refused to accept advertising for it, while some Hearst employees worked behind the scenes to block or restrict its distribution.
  • THIRTIES
  • 1935
    Age 37
    According to the New York Times, in 1935, while he was a staff writer for MGM, the studio was notified by Dr. Paul Joseph Goebbels, then Minister of Education and Propaganda under Adolf Hitler, that films written by Mankiewicz could not be shown in Nazi Germany unless his name was removed from the screen credits.
    More Details Hide Details Mankiewicz is best known for his collaboration with Orson Welles on the screenplay of Citizen Kane, for which they both won an Academy Award and later became a source of controversy over who wrote what. Pauline Kael attributed Kanes screenplay to Mankiewicz in a 1971 essay that was strongly disputed and is now discredited. Much debate has centered around this issue, largely because of the importance of the film itself, which most agree is a fictionalized biography of newspaper publisher William Randolph Hearst. According to film biographer David Thomson, however, "No one can now deny Herman Mankiewicz credit for the germ, shape, and pointed language of the screenplay " Mankiewicz biographer Richard Meryman notes that the dispute had various causes, including the way the movie was promoted. When RKO opened the movie on Broadway on May 1, 1941, followed by showings at theaters in other large cities, the publicity programs that were printed included photographs of Welles as "the one-man band, directing, acting, and writing." In a letter to his father afterwards, Mankiewicz wrote, "I'm particularly furious at the incredibly insolent description of how Orson wrote his masterpiece. The fact is that there isn't one single line in the picture that wasn't in writingwriting from and by mebefore ever a camera turned."
  • 1933
    Age 35
    In 1933, he co-wrote Dinner at Eight, which was based on the George S. Kaufman/Edna Ferber play, and became one of the most popular comedies at that time and remains a "classic" comedy.
    More Details Hide Details In February 1938, he was assigned as the first of ten screenwriters to work on The Wizard of Oz. Three days after he started writing he handed in a seventeen-page treatment of what was later known as "the Kansas sequence". While Baum devoted less than a thousand words in his book to Kansas, Mankiewicz almost balanced the attention on Kansas to the section about Oz. He felt it was necessary to have the audience relate to Dorothy in a real world before transporting her to a magic one. By the end of the week he had finished writing fifty-six pages of the script and included instructions to film the scenes in Kansas in black and white. His goal, according to film historian Aljean Harmetz, was to "capture in pictures what Baum had captured in words—the grey lifelessness of Kansas contrasted with the visual richness of Oz." He was not credited for his work on the film, however.
  • 1930
    Age 32
    Between 1930 and 1932 he was either producer or associate producer on four comedies and helped write their screenplays without credit: Laughter, Monkey Business, Horse Feathers, and Million Dollar Legs, which many critics considered one of the funniest comedies of the early 1930s.
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  • 1929
    Age 31
    Between 1929 and 1935, he was credited with working on a least twenty films, many of which he received no credit for.
    More Details Hide Details
    By then, sound had come in, and in 1929 he did the script as well as the dialogue for The Dummy, and did the scripts for many directors, including William Wellman and Josef von Sternberg.
    More Details Hide Details Other screenwriters made large contributions, too, but "probably none larger than Mankiewicz's," according to Kael. At the beginning of the sound era he was one of the highest-paid writers in the world, because, Kael writes, "he wrote the kind of movies that were disapproved of as "fast" and immoral. His heroes weren't soft-eyed and bucolic; he brought good-humored toughness to the movies, and energy and astringency. And the public responded, because it was eager for modern American subjects." He was described as "a Promethean wit bound in a Promethean body, one of the most entertaining men in existence and called the 'Central Park West Voltaire' by Ben Hecht. According to Kael, Mankiewicz did not work on every kind of picture. He didn't do Westerns, for example, and once, when a studio attempted to punish him for his customary misbehavior by assigning him to a Rin Tin Tin picture, he rebelled by turning in a script that began with the craven dog frightened by a mouse and reached its climax with a house on fire and the dog taking a baby into the flames.
  • TWENTIES
  • 1927
    Age 29
    In 1927 and 1928, he did the titles (the printed dialogue and explanations) for at least twenty-five films that starred Clara Bow, Bebe Daniels, Nancy Carroll, Wallace Beery, and other public favorites.
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  • 1926
    Age 28
    Kael notes that "beginning in 1926, Mankiewicz worked on an astounding number of films."
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  • 1923
    Age 25
    From 1923 to 1926, he was at The New York Times backing up George S. Kaufman in the drama department and soon after became the first regular theatre critic for The New Yorker, writing a weekly column during 1925 and 1926.
    More Details Hide Details He was a member of the Algonquin Round Table. His writing attracted the notice of film producer Walter Wanger who offered him a motion-picture contract and he soon moved to Hollywood. After a month in the movie business, Mankiewicz signed a year's contract at $400 a week plus bonuses. By the end of 1927, he was head of Paramount's scenario department, and film critic Pauline Kael, who wrote about him and the creation of Citizen Kane in "Raising Kane", her famous 1971 New Yorker article, wrote that "in January, 1928, there was a newspaper item reporting that he was in New York 'lining up a new set of newspaper feature writers and playwrights to bring to Hollywood,' and that 'most of the newer writers on Paramount's staff who contributed the most successful stories of the past year' were selected by 'Mank.'" Film historian Scott Eyman notes that Mankiewicz was put in charge of writer recruitment by Paramount. However, as "a hard-drinking gambler, he hired men in his own image: Ben Hecht, Bartlett Cormack, Edwin Justus Mayer, writers comfortable with the iconoclasm of big-city newsrooms who would introduce their sardonic worldliness to movie audiences.
  • 1920
    Age 22
    He took his bride overseas with him on his next job as a foreign correspondent in Berlin from 1920 to 1922, doing political reporting for George Seldes on the Chicago Tribune.
    More Details Hide Details He was a "bookish, introspective child who, despite his intelligence, was never able to win approval from his demanding father" who was known to belittle his achievements. He became an alcoholic, which hurt his career by the late 1930s. His children were screenwriter Don Mankiewicz (1922-2015), politician Frank Mankiewicz (1924-2014), and novelist Johanna Mankiewicz Davis (1937-1974). While a reporter in Berlin for the Chicago Tribune, he also sent pieces on drama and books to The New York Times. At one point, he was hired in Berlin by dancer Isadora Duncan, to be her publicist in preparation for her return tour in America. At home again in the U.S., he took a job as a reporter for the New York World. He was known as a "gifted, prodigious writer," and contributed to Vanity Fair, The Saturday Evening Post and numerous other magazines. While still in his twenties, he collaborated with Heywood Broun, Dorothy Parker, Robert E. Sherwood, and others on a revue, and collaborated with George S. Kaufman on a play, The Good Fellow, and with Marc Connelly on The Wild Man of Borneo.
  • TEENAGE
  • 1917
    Age 19
    After a period as managing editor of the American Jewish Chronicle, he became a flying cadet with the United States Army in 1917, and, in 1918, a private first class with the Marines, A.E.F. In 1919 and 1920, he became director of the American Red Cross News Service in Paris, and after returning to the U.S. married Sara Aaronson, of Baltimore.
    More Details Hide Details
  • 1909
    Age 11
    In 1909, Herman's brother, Joseph L. Mankiewicz (who himself would have a career as a successful writer, producer, and director), was born, and both boys and a sister spent their childhood there.
    More Details Hide Details The family moved to New York City in 1913, and Herman graduated from Columbia University in 1917.
  • CHILDHOOD
  • 1897
    Born
    Herman Mankiewicz was born in New York City in 1897.
    More Details Hide Details His parents were of German Jewish ancestry: his father, Franz Mankiewicz, was born in Berlin and emigrated to the U.S. from Hamburg in 1892. He arrived in the U.S. with his wife, a dressmaker named Johanna Blumenau, who was from the German-speaking Kurland region." The family lived first in New York and then moved to Wilkes-Barre, Pennsylvania, where Herman's father accepted a teaching position.
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