Speaking of Malkovich, I just watched RKO 281, the HBO movie about the making of Citizen Kane, and the attempts by Hearst to prevent its release. Malkovich plays Herman Mankiewicz, Welles' (Liev Schreiber) boozy co-writer. Surprisingly, he's a bit hit-and-miss in the early parts of the film, a little stilted, but very good later on.
Not knowing much about Welles, and having only seen Kane
and Touch of Evil (once each, and neither one in years), I
couldn't help wondering how much of what takes place in RKO
281 is apocryphal or true. Taken at its word, it's a
fascinating glimpse at Welles' turbulent genius, his
determination to stay true to his vision, his refusal to cow to
Hearst, and even Welles' own parallels with Hearst, mainly the
sporadic bursts of temper and megalomania.
Hearst (James Cromwell) is a study in paradox -- on one hand,
an animal lover and collector of fine art; on the other, a
domineering prude who collects people and possessions in a futile
attempt to satisfy his own inadequacy at not achieving the
political greatness he felt he deserved. Hearst made his money on
publicizing the lives of others, yet attempted to blackmail the
studio owner into burning the film before it could see release,
as he felt he deserved privacy.
Cromwell plays Hearst with arch gentility, always at the ready
to ensure he gets his way. Yet he's almost a sympathetic
character at the end, having to hock his possessions, dancing in
an empty castle with his mistress (Melanie Griffith), who
affectionately (but it's actually rather creepy) calls him "Pops".
Since LA Confidential, Cromwell seems to have become quite
adept at playing nasty villains, yet not quite unredeemably nasty.
Most of the film is on Schreiber's shoulders, and he carries
it wonderfully. Just when you're ready to assume that RKO 281
is a hagiographic tribute to Welles' precocity, he lashes out as
his closest friends in fits of pique and frustration. Hearst is
perceived as a man of ultimate power, knowing that he controls
much of the public's access to information, but is $125 million
in debt, and frustrated to no end at being unable to shut Welles
down. Welles parallels this with his constant fear that he might
be exposed as a false genius, and ruin all of his own
expectations. Welles seems to see in Hearst what he fears in
himself -- that a man might gain all the world, yet still lose
his own soul. That RKO 281 tends to spin this as sort of a
benign megalomania with the occasional temper tantrum doesn't
detract from the story.
Even more than Hearst himself, maybe the most loathsome
character here is tabloid columnist Louella Parsons. A horrid
little spin-master, who finally resorts to blackmail with
embarrassing photographs, and thinly-veiled anti-Semitism, to
protect her bosses' interests. More than just a loyal soldier,
Parsons comes off as the pompous queen of her own domain,
strident in her self-appointed role as opinion-maker for the
masses. She knows she can make or break nearly anyone, and she
wields her power with fiendish glee. In short, she's a terminal
bitch, and proud of it.
