By the United Federated Forces of the Symbionese Liberation Army in Berkeley, California. The abduction took all of a few minutes, and happened right in front of Ms Hearst's fiancé at the time, the twenty-six year old, Steven Weed. Ms Hearst was an art major at the University of California Berkeley, but became a target for the SLA due to the fact that she was the granddaughter of William Randolph Hearst, and an heiress to one of the largest fortunes in the world. Plus, the Hearst family at that time were still in charge of the largest media empire ever built.
Patty Hearst, robbing the Hibernia bank.
This is a story that captivated the nation for over a year, and was full of so many twists and turns, that it became nearly impossible to believe. I will give you one spoiler, though. Eventually Ms Hearst ended up an actress in films by John Waters.
My interest and fascination with this abduction tale started in the early 90s, at a time when I was certainly at my most truly "radical" and "revolutionary". Not that I ever was a radical revolutionary, but Hearst and the SLA hit squarely in the sweet spot of my youthful leftist political leanings. Are we ever more likely to put actual activism, and possibly violence, behind our passionate political rhetoric than when we are in our early twenties?
Even though my political fervor became more subdued, and far more pragmatic -- though I still have my moments! -- this story only got better and richer as I grew older. First, I saw the excellent documentary on William Randolph Hearst and Orson Welles, The Battle Over Citizen Kane. This gave me context on just how daring (or insanely foolhardy) Welles and Mankiewicz were for taking on the Hearst empire. Also, it taught me just how awful Hearst and his newspapers were.
But then about a dozen years after seeing that, I saw Guerilla: The Taking of Patty Hearst, an explosive, and fascinating and superb documentary on Hearst's abduction by filmmaker Robert Stone. That is when it all came home for me. Literally. By this time I was living in sedate suburban Walnut Creek, California. The SLA's hideout at the time of the abduction was on Sutherland Drive in nearby Concord. And, two SLA members had been arrested after a shootout with Concord police before Hearst was taken.
It was stunning to me that that kind of daring and truly radical revolutionary behavior could have its roots in the sleepy Lamorinda corridor of the East Bay. But, hey, times was different back then.
There are so many fascinating things about Guerilla that I could never cover them all in a blog post. Plus, this film comes so highly recommended by me that I do not want to spoil anything for you. Just see it.
But, I would like to point out the absolute perfection of the SLA's target, Ms Hearst. Ms Hearst's voice does not reflect her California upbringing so much as it does money. It is the lazy drawl of the super rich untitled aristocracy. It was shocking to hear this voice proclaim herself as Tania the Urban Guerilla, in love with her fellow revolutionary, Cujo.
Also, the chain smoking SF Chron reporter who is a witness here for this film, is an absolute treasure. A complete no bullshit sympathetic yet objective journalist with real insight in to the era and both the Hearst family and the SLA.
And, make sure to listen to Stone's directors commentary. His film seems to have come out more sympathetic to the SLA than perhaps his real feelings are.
Finally, the ending of the film is perfect.
In a perfect world, I would suggest that on every February fourth from now on, a theater would show a triple feature of Citizen Kane, followed by The Battle Over Citizen Kane, followed by Guerilla: The Taking of Patty Hearst.
It is a story that will always fascinate me, forever.
This guy's schtick years ago, right around the time of the Clinton Administration.
Bob Woodward, today, is exactly the same kind of guy he was as portrayed by Bob Redford in All the President's Men back in the Seventies. A not too bright registered Republican without any real passion or conviction re policy or politics or people, who though handsome (back then) is severely lacking in social skills and graces, and since he is no great shakes as a writer or reporter, is supremely dependent upon others for his livelihood.
Back in the Seventies, Woodward's "others" were Carl Bernstein, Benjamin Bradlee, and Mark Felt, aka "Deep Throat".
I mean, no wonder Bernstein and his wife, Nora Ephron, kept trying to sex up Bernstein's character, as portrayed by Dustin Hoffman, in Bill Goldman's excellent screenplay for the film. They were worried Woodward would become the "star" of the production.
Which is exactly what happened. Woodward became a Star Journalist, and Woodward's new "others", his new "Edge" became the classic Courtier Press VIP card that he was awarded sometime around the Carter Administration. Big Time Bob was now allowed in the room while the Very Powerful Serious Folks argued about what best to do about the rest of us.
It has always been about the power of access for Woodward. And, for big time book deals, and maintaining his vast Georgetown pile. Never about you or me, dang it. Or, all the kids that have died in our stupid military actions. Or, the ever growing gulf between the haves and have nots in this country. Because as long as Big Time Bob gets to sit at the Grown Ups Table, all is hunky dory in his world.
This explains Woodward's hissy fit last week. And, his (sort of) retraction, too, when his slip was showing.
Why anyone would be paying any amount of attention to this tired old William Hurt from Broadcast News character is beyond me. Do not feed the troll!
************
And, then there was this:
"I'm happy to blame the media...The thing that was frustrating to me is that people didn't really get to know Mitt for who he was. People weren't allowed to see him for who he really was."
-- Ann Rafalca Romney on Fox News yesterday.
(h/t Charlie Pierce.)
Gosh, if only Big Time Bob thought you guys were serious players, you might be in the Other Cool House right now.
No matter who you vote for, the Government always gets in.
Re Lena Dunham's HBO series, Girls, is a fantastic read. Here it is. And, apparently, he has the same itch wanting to be scratched that I do. That is, that these times are desperately crying out for our version of Citizen Kane. His suggestion that Ms Dunham be the one to do that is shrewd and more than just a good idea. Thomson is also correct that Girls simply can not sustain itself for any serious length of time. The subject matter does not allow it. They should wrap it up after two (or maybe) three seasons.
The "It" girl.
And, I would just like to say, with the caveat attached that Veep and Girls are by far the best things on television right now, that I did not like the turns both programs took last Sunday. I thought Girls went sappy and cheap, and that Veep just is not as good when it becomes too serious. (Though the last shot/scene of Veep was an absolute masterstroke last week. So, there is hope.) Actually, both programs will be fine, and I will seriously be suffering from withdrawal in a few weeks when they wrap. (Plus, we have Sorkin's The Newsroom to look forward to!) So, remember the caveat.
************
Today is going to be a wonderful day. I can just feel it. And I do not even care that the Rangers lost 21-8 (!) yesterday.
Remember that this is my personal ballot and not the final compiled ballot that will be published in this space on 2/29/12.
Gosh, where do I begin?
This little blast from the past seems as good a place to start, I suppose. (But also, perhaps after I have read this post, just as good a place as I should have finished. We will see.) And then, I figure, I will attack the subject in multiple sections, each speaking towards a different theme, style, or reason why Citizen Kane is so special.
To wit,
The absolute worst thing Citizen Kane (and Orson Welles and Herman Mankiewicz) did, and the thing that both of them always regretted the most, was the way they portrayed the delectable, sweet, loyal Marion Davies as a drunken floozy. It was such awful timing, too. Citizen Kane was released just as the American public had finally forgotten about Ms Davies, forgotten how during the silent-era William Randolph Hearst had literally shoved Ms Davies and her career down the public's throat in his newspapers. And how Hearst had blindly sabotaged her career by insisting she only do films that he would approve of, films and characters that were the complete opposite of her charming, naturally mischievous, comic style of performing, or acting.
But if Mankiewicz' famous San Simeon-insider story about the nickname Hearst had for Ms Davies' private parts is true, "rosebud", then that is worser, still. To hang the entire film on such a rude private joke is beyond small or mean.
Mank and Ms Davies were great friends. He was a notorious drunk and bon vivant, someone Davies could sneak off and drink with at the legendary Hollywood San Simeon parties. (Hearst was a teetotaller and hated the idea of Marion drinking.) In order to relieve himself of his awful guilt towards his friend, in an absolute master-stroke of self-destruction, Mank gave a copy of the Citizen Kane script to his friend and Ms Davies' nephew, Charlie Lederer. Welles would only express regret in interviews late in his life re their treatment of Ms Davies. And at one point in his life Welles borrowed a great sum of money from Lederer, which he never returned.
Perhaps I am the only person who thinks like this: If Citizen Kane had strictly, solely laid to bare the life of William Randolph Hearst and had not included Marion Davies in it, then perhaps Hearst might not have reacted as he did, or with such Biblical vengeance. I could be completely wrong.
************
Welles said there were so many curtain calls that eventually they just raised the curtain and let the audience congratulate the cast and crew on stage.
One of the best arguments for why I could be wrong in the paragraph above is that Hearst and Welles had already come in to conflict before Citizen Kane was made. One of the greatest triumphs of Welles' career and of that of the American Theatre was Welles' production of Macbeth in Harlem in 1936. The production was part of the Federal Theatre Project, which was part of FDR's Works Project Administration (WPA), which was a massive economic stimulus project. (Gosh, where have we heard about projects like these recently?) Of course, some one like Hearst was opposed to the WPA and the Federal Theatre Project, and FDR and the twenty-year old director, Welles, and the fact that the cast was entirely African-American amateurs. Welles and FDR were routinely savaged in Hearst newspapers as traitors and Communists. (Gosh, who likes to bandy that word about these days -- though, now they prefer the, to them, tamer friendlier word, Socialist?)
Welles and Hearst were headed for an absolute comet-like collision course no matter what. It was inevitable.
Look, I am sure that even back in Roman times there were reactionary right-wing assholes that controlled a portion or all of the media of its' times. Before Hearst it was someone else in this country and today it is Rupert Murdoch. But go back to that link above, Jimmy Breslin's quote. Hearst set out to destroy Citizen Kane before it was released, offered $800,000 to the (Jewish) major studio heads to purchase the negative and have it destroyed. Hearst threatened to expose the studio heads as Jewish, Commie-symp Libertines if he did not get his way. And as for Welles, well, "You always suggest sodomy. Always."
Even William Alland, the reporter in Citizen Kane and the fantastic voice-over for the famous News on the March sequence, was called before the FBI to discuss if Welles and he were lovers. And if they were Communists.
That is why I forgive them, reluctantly, for their treatment of Ms Davies (sometimes great art has to be small and mean) and absolutely why I have no compunction for the way the film and Welles and Mank exposed Hearst and his media empire for the wretched reactionary creeps that they were.
What is the quote from Greil Marcus' superb book, Lipstick Traces? He is quoting Eisenhower, "Things are more like they are now than they ever were before."
************
But when the heck is Michael David Spitler gonna talk about the film, the movie, Citizen Kane?
Well, right now, as a matter of fact.
One of the only directors that I consider even in the same league as Welles (for completely different reasons, mind you), Ernst Lubitsch, was famous for his method of beginning his films. He would always work with his scriptwriter and demand that it had to be fresh, new, and different. That the first few minutes of his films had to be special.
For Citizen Kane, Welles and his crack DP (one of the greatest ever), Gregg Toland, that is how they attacked not just the beginning of the picture, but every single shot.
Every single shot in Citizen Kane is fresh and different. Every single shot adds depth to the story or the characters. Every single shot has the power to move or astonish or infuriate the viewer. And Welles and Toland used every trick in their respective bags. Toland finally got to perfect the deep focus that Jean Renoir had come to love, directing La Règle du jeu. Toland and Welles dug out the studio floors to create the dramatic low-angle shots that Hitchcock would exploit again and again. Welles brought every theatre trick he could, including insane false perspective sets, featuring giant fireplaces or over-sized window frames that reinforced story or character. Welles included cut-outs of people at the political rally (reinforcing the inherent fascistic nature of all politics or political movements). Welles (and his production design team) told the whole story of the life and death of a marriage through simple editing and by enlarging the dinner table in increments, scene by scene.
What an amazing joy that must have been to arrive on the set each day. All the geniuses were finally allowed to do whatever they pleased, try anything they had always secretly wanted to try, but were never allowed to before.
Just the News on the March sequence is decades ahead of its' time, blending stock footage, real footage, double and triple exposures, etc, ...
But it is not just the technical side that makes Citizen Kane so special. It is also its thrilling larger than life acting and characters. The fact that the finest acting performance comes from Agnes Moorehead and she is in only one scene. The amazing Bernard Herrmann score which magically and surreptitiously obeys no rules for scene changes, yet, numerous times comments wittily on the action at hand. The elegant way that the script and the performers and the production so slyly satirise American Pop Culture and the media. And on, and on, and on, ...
************
Honestly, Citizen Kane is the greatest motion picture in history. But for idiosyncratic, special romantic, personal reasons, here it will have to reside as No. 2.
Believe me, Citizen Kane (like the Beatles) is not over-rated as many would suggest. It is still under-rated. It is an absolute diamond mine of riches, seemingly infinite, with still, yet more treasures to unearth the more we explore.
************
Favorite two moments from Citizen Kane:
1. The ferry girl speech because I have had the exact same experience. I was on a flight home from Germany in 1994. The flight was delayed due to mechanical problems. They ushered us back to the terminal and plied us with free cocktails and crappy German snacks. It was there I spied one of the most beautiful women I have ever seen in my life, waiting with me. I never spoke to her. I doubt we could have, anyway. I remember her beautiful auburn hair and her Romanian passport. At the oddest of times, every now and then, I remember the way she stood, clutching that passport. I am quite sure she never thinks of me, at all, ever.
2. The whole "in sixty years I'll have to close this newspaper" sequence.
Remember that this is my personal ballot and not the final compiled ballot that will be published in this space on 2/29/12.
Well, I had to include at least one artsy-fartsy pick, right? And I do not know if I can get more esoteric than Sunrise, a silent film made in 1927, directed by F.W. Murnau.
Sunrise absolutely deserves its place here. It is a breathtaking, complete marvel of a film that was decades ahead of its time. And seeing Sunrise has become a magical treat for me that makes me feel a child again every time I watch it. I am completely under the spell of this film, helpless as it plays.
It is not the melodramatic story that transports me. It is the intoxicating reverie of the country and the city that Murnau and his smashing team created on the back lots of Hollywood. Charles Rosher and Karl Struss shot the film (and won Oscars for their work), while Rochus Gliese handled the superb art direction, and Frank Williams assisted with special effects. Sunrise is a phenomenal technical achievement that would not be matched until Welles got his own paintbox fourteen years later for Citizen Kane.
In fact, Sunrise was the Terminator or Avatar of its time. It was so groundbreaking and astonishing to the Academy that they awarded Sunrise a special Oscar for being the most unique and artistic production that year, an award that has never been given to any other film in all the history of the Oscars.
Murnau was a German director who had already made a significant name for himself at Ufa, making other masterpieces such as: Nosferatu, Faust, and the most highly regarded, The Last Laugh (Der letzte Mann). Murnau had been a trailblazer his entire career and could work in any genre. His films could be expressionistic in style, realistic, supernatural, surrealistic, or often times a blend of all or some of these styles in a single film. He would do anything and everything to create the film's milieu, including forced perspective, models, cut-outs, midgets, mattes, opticals, what have you. But his biggest breakthrough was the way he moved the camera. In the The Last Laugh Murnau made the camera a subjective observer in the film, an actor. And the camera now went everywhere: through walls and glass, up and down, so free and expressive. Murnau's imagination seemed to know no bounds. And he changed the American cinema because of it, perhaps more than any other filmmaker ever.
William Fox hired Murnau to make a 'prestige' film, like The Last Laugh had been, in Hollywood, one that would win a lot of trophies. Fox gave Murnau and his team carte blanche to make the picture. And two big-time movie stars were in it, Janet Gaynor (she also won an Oscar for her performance in Sunrise and two other films) and George O'Brien.
Sunrise was a flop, of course, like so many masterpieces. The critics loved it to pieces and sang its praises but audiences were not impressed.
Despite the critical approbation and the Oscars for Sunrise, Fox eventually lost patience with Murnau and eventually forced him out. One of Murnau's Fox films, Four Devils, has been lost forever. We only have still photographs of the film.
Just as Murnau was to announce signing a new deal with Paramount he was killed in an car accident. He was forty-three. The most famous and poignant 'story' related to his death is that Murnau, who was gay, never picked his chauffeurs for their driving abilities. He always picked them for their looks.
Top 3 sequences, moments in Sunrise:
1. The long tracking shot with George O'Brien going to meet Margaret Livingstone.
2. The train ride in to the City, an absolute heart-rending, tearful journey about forgiveness and true unconditional love.
3. The sequence right after Janet Gaynor and O'Brien walk out of the church, in to the street, and then a magical, bucolic, idyllic meadow, so in love again.
The clips below are not very good quality. I encourage you to watch them but mostly to get a taste of what Sunrise is. There is a fantastic Blu-ray edition of Sunrise that contains maybe the greatest and most illuminating commentary I have heard for a film. It is also available on regular dvd. For the folks that are willing to make this dreamlike journey, from the country, to the City, and back again, I most heartily recommend you purchasing Sunrise.
You call them a dirty son of a bitch. And if you can't use the word son of a bitch you put it in something else in the paper ... And you always suggest sodomy. Always. That's important. And the communism business, which was lousy, a cheap, rotten way to hurt somebody. And it would stick in America. You know, by pointing a finger and calling him a communist. That could stick."
That is a quote from Jimmy Breslin about William Randolph Hearst and Orson Welles, from the Oscar-nominated documentary, The Battle Over Citizen Kane. (Made by two gentlemen named Epstein and Lennon, which I have always found amusing.)
And you would like to believe that things have changed in seventy years. But they have not, really.
************
Today sees the release of the 70th Anniversary Edition of Citizen Kane on blu-ray. All editions include The Battle Over Citizen Kane with the 1941 masterpiece.
What Pauline Kael said decades ago is just as true, if perhaps, truer today: "Citizen Kane is perhaps the one American talking picture that seems as fresh now as the day it opened. It may seem even fresher."
