Wild. Untamed. Legendary. Buffalo Girls celebrates the bold escapades of tough-talking Calamity Jane Canary and her illustrious cohorts. It's the waning days of the Wild West and Jane, the ... See full summary »
In an ethereal, high-ceilinged room, women stand, waiting. Perhaps it's Purgatory and they're dead. In the room, two young women, one an actress and the other a psychologist, watch the last... See full summary »
Four members of the media are chosen as moderator and panel for the single televised debate of presidential candidates one week before the election. These four use the debate forum as never... See full summary »
Based on a true story its the untold story of Italian World War II POW"S in Jan 1946. Luca Zingaretti stars as one of over 50,000 Italian Prisoners of War detained at POW camps in the U.S. ... See full summary »
This film is based on a true story about a British teenager who allegedly poisoned family, friends, and co-workers. Graham is highly intelligent, but completely amoral. He becomes ... See full summary »
At a wake one night in 1945, a group of aged women recall the life of one of their number. Sixty years before, Thérèse was barely 20 years old when she eloped with her boyfriend, Firmin, a ... See full summary »
Coming to Hollywood as a celebrated boy genius featuring a spectacular career arc in New York including his "War of the Worlds" radio hoax, Orson Welles is stymied on the subject for his first film. After a dinner party at Hearst Castle, during which he has a verbal altercation with Hearst, Welles decides to do a movie about Hearst. It takes him some time to convince co-writer Herman Mankiewicz and the studio, but Welles eventually gets the script and the green light, keeping the subject very hush-hush with the press. When a rough cut is screened, Hearst gets wind of the movie's theme and begins a campaign to see that it is not only never publicly screened, but destroyed. Written by
Greg Bulmash <email@example.com>
In the shot of Orson cutting the Citizen Kane script, one of Kane's lines is "Who knows what lurks in the hearts of evil men? The Shadow knows!" This was the classic introduction played at the beginning of every episode of Welles' famous radio program, "The Shadow". See more »
When Orson is sketching a picture in front of Manks, he draws a semi-circle around the head of a lone figure on his sketch pad. When the scene cuts to the next part, the circle is not there. See more »
Orson Welles was just twenty-six years of age when he made "Citizen Kane." A film regarded by many to be one of the best films ever made. As Welles quipped: "I started at the top and worked down." There is no doubt that Orson Welles was a genius (child prodigy), and that he never made a better film than "Citizen Kane." "RKO 281" (the original production number given to "Kane" by the studio), is the story of the trials and tribulations of making "Citizen Kane." By rights, a film about the making of "Citizen Kane", should pack more of a wallop than this one does. The subject has all the ingredients of high melodrama that's for sure; only this film doesn't quite live up to it. This is not necessarily the fault of the director: it's just that the topic is a far too complex one to be portrayed in a mere eighty three minutes. Still and all, "RKO 281" is not a bad little film about how one of the true geniuses of the cinema, who was treated so abysmally by the system that allowed him to make the film in the first place. Under pressure from William Randolph Hearst (whom "Kane" is a thinly disguised version), the heads of the other major studios devised a plan to ensure the film would never ever be seen again. Thankfully, George Schaeffer at RKO didn't go along with this idea. The film had its premier, but failed to engage cinema audiences, and effectively sank without a trace, no doubt helped by a total ban on advertising by the Hearst organization. Praise should go to Liev Schreiber as Welles, Roy Scheider as RKO boss, George Schaeffer, John Malcovich as Herman Mankiewicz, John Cromwell as Hearst and Melanie Griffith as Marion Davies. A special mention should also go to Brenda Blethyn as Hearst columnist Louella Parsons. In addition, Orson Welles second feature, "The Magnificent Ambersons", suffered the ignominy of having the editing of the film taken away from by RKO, who not only removed an hour of footage, but also shot a new, happier ending and tacked it onto the film. Although the extensive notes left by Welles on how the film was to be cut have survived, the excised scenes have not.
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