![]() In fact, since the whole controversy mirrors the structure of Citizen Kane itself, is seems like it would be quite a fascinating idea to take the making of Citizen Kane, and tell it from four distinct point of views: Those of Welles, Houseman/Mankiewicz, George Schaefer and Joesph Cotten. From Houseman’s point of view, his story is what indeed did happen, because he had no knowledge of what Welles was doing on his own in Hollywood, while he and Mankiewicz were holed up in Victorville. Which brings up an interesting point about the whole Citizen Kane writing controversy. Mankiewicz through writing the script for Citizen Kane, nor had he spoken to Pauline Kael. In 1962, Houseman had yet to write his own detailed account about guiding Herman J. Coming across the Autumn, 1962 issue of Sight & Sound at a flea market recently, I was struck by a John Houseman interview, who of all people, defends Orson Welles from that absurd question that seems to have plagued him ever since the fiasco of It’s All True: “What went wrong?” ![]()
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