I'm absolutely sure that this film would be of more interest to film buffs and Welles fans than to the average viewer, although the buffs and fans might find it infuriating at times. The search for purity and perfection is bound to end in failure because, after all, who is pure? And what is perfect? The buffs and fans will probably gnash their teeth over historical inaccuracies and events and conversations that obviously must have been invented. They can join William Randolph Hearst and Orson Welles, because Hearst discovered that he didn't exercise pure power and Welles found out that his career was destined to be less than perfect. But the buffs and fans can still rejoice in knowing that they understand a little more than the rest of us about what the hell was going on in Hollywood and the rest of the world in 1940 and 1941.
Taken as just another movie, without reference to historical events, "RKO 281" isn't bad. It's not the best made-for TV movie that HBO has come up with, but it's interesting to get a glimpse into the contrast -- and the similarities -- between Welles, a self-proclaimed genius and novice film maker, and Hearst, the old fuddy duddy who lived with his younger mistress in a castle on a hill on an estate half the size of Rhode Island. One was rich with the ideas and daring of youth. The other was rich, period.
Good performances all around, as far as the principles go. Maybe Melanie Griffith isn't the vivacious and mischievous hostess that Marian Davies was said to have been, but she gets the job done. Liev Schreiber is a passable Welles, though not as handsome to the heterosexual eye as was the 25-year-old prodigy himself. John Cromwell probably gives the best performance as Hearst, the man who owned too much. It's a complex character role, not easy to play. Hearst isn't the kind of guy you'd like to have a beer with, but Cromwell manages to make him rather sympathetic at times. John Malkovich is Herman Mankowitz, co-writer of "Citizen Kane," and he's reliable, as always. Too bad they left out the incident at which Mankowitz, drunk, vomited at the dinner table and apologized by saying, "It's alright, Mister Hearst. The white wine came up with the fish." If there's a weak thread running through the story of this battle, it's the script. Sometimes it positively flows, as in Welles' speech to the RKO board in New York. At other times, it seems as if the writer had one eye on a textbook for Screen Writing 101. Why would an American, even a stuffy one, substitute the British "shall" for the red-white-and-blue "will"? Entire conversations sound stilted and aimed at immediate comprehension by the viewer, attempts to spare him the torture of thought.
No, it's not a TV masterpiece, but it's a good job of commercial film making, the kind that HBO can sometimes be very good at. I think most people would find it engaging enough to hold their attention. Especially, as I say, the buffs and fans. I'm not sure about those who might have to stretch in order to grasp the concept of "Hitler" -- never mind "RKO 281".
Taken as just another movie, without reference to historical events, "RKO 281" isn't bad. It's not the best made-for TV movie that HBO has come up with, but it's interesting to get a glimpse into the contrast -- and the similarities -- between Welles, a self-proclaimed genius and novice film maker, and Hearst, the old fuddy duddy who lived with his younger mistress in a castle on a hill on an estate half the size of Rhode Island. One was rich with the ideas and daring of youth. The other was rich, period.
Good performances all around, as far as the principles go. Maybe Melanie Griffith isn't the vivacious and mischievous hostess that Marian Davies was said to have been, but she gets the job done. Liev Schreiber is a passable Welles, though not as handsome to the heterosexual eye as was the 25-year-old prodigy himself. John Cromwell probably gives the best performance as Hearst, the man who owned too much. It's a complex character role, not easy to play. Hearst isn't the kind of guy you'd like to have a beer with, but Cromwell manages to make him rather sympathetic at times. John Malkovich is Herman Mankowitz, co-writer of "Citizen Kane," and he's reliable, as always. Too bad they left out the incident at which Mankowitz, drunk, vomited at the dinner table and apologized by saying, "It's alright, Mister Hearst. The white wine came up with the fish." If there's a weak thread running through the story of this battle, it's the script. Sometimes it positively flows, as in Welles' speech to the RKO board in New York. At other times, it seems as if the writer had one eye on a textbook for Screen Writing 101. Why would an American, even a stuffy one, substitute the British "shall" for the red-white-and-blue "will"? Entire conversations sound stilted and aimed at immediate comprehension by the viewer, attempts to spare him the torture of thought.
No, it's not a TV masterpiece, but it's a good job of commercial film making, the kind that HBO can sometimes be very good at. I think most people would find it engaging enough to hold their attention. Especially, as I say, the buffs and fans. I'm not sure about those who might have to stretch in order to grasp the concept of "Hitler" -- never mind "RKO 281".