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That was an excellent one.

So much average

How sad is this?

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

The myth of "Citizen Kane" outruns the reality in this snazzy, highly fictionalized presentation of the origination of, and subsequent fallout from, Orson Welles' cinematic triumph.When we first see young Orson, he is lighting his own birthday candle, at a party consisting of himself and his bedridden mother. "You were made for the light," she tells him. Becoming a young man, Welles (Liev Schreiber) lands in Hollywood with a film contract and a reputation as a "boy genius" with no film to his credit. Orson casts about for a film to launch him properly, and finds it at the mansion of the crusty plutocratic publisher William Randolph Hearst (James Cromwell) and his mistress Marion Davies (Melanie Griffith).Welles played fast and loose with the truth in his lifetime. So does "RKO 281." In "The Man Who Shot Liberty Valance," director John Ford famously had a scene where the facts of a case are disregarded so a newspaper can "print the legend." Welles was a student of Ford's, as "RKO 281" reminds us, and we get similarly legendary moments here presented as life.Welles and Hearst clash memorably in a couple of chance meetings. Hollywood executives are threatened by Hearst into trying to buy "Citizen Kane" in order to destroy it unseen. The mysterious death of Thomas Ince is revealed to be a murder showing the extent of Hearst's dangerousness and pull.All of this is at best speculation and more likely hyperbole of the kind that Welles himself trafficked. "RKO 281" thus obscures the real historic record, but director Benjamin Ross and writer John Logan do so with a verve that makes it work. "Take my hand, Menk," we hear Welles tell screenwriter Joseph Menkiewicz (John Malkovich), just after pushing the guy into a pool. "We'll make history!"Schreiber doesn't look or sound much like Welles, but he has the right presence for the role and I enjoyed his performance. Nobody really convinces, yet everyone does well with their off-center parts, especially Griffith. She has the toughest role, playing Davies in the same brassy way Dorothy Comingore portrayed her counterpart Susan Alexander in "Citizen Kane" but as a completely different person than Susan Alexander was, someone who is sincerely devoted to her rich lover. Also ironic is Cromwell, effectively nasty yet more sympathetic as a foil than Welles is as protagonist. In a film celebrating Welles' genius, it's notable the uptight Hearst gets the better of Welles in their exchanges."Men like Hearst don't love," Welles sneers, blind to the fact its Hearst's love for Davies rather than his pride in his wealth and fame that fuels the old man's rage against his picture.I enjoyed the way "RKO 281" plays with your rooting interest and sends up the old-Hollywood style of Welles' day. It doesn't feel real, but it entertains, and at 90 minutes doesn't waste your time about it. That's the kind of Hollywood production everyone can enjoy.

The battle between William Randolph Hearst and Orson Welles over the latter's classic film Citizen Kane is the stuff that film history legends are made of. And after the amazing PBS documentary on it, it doesn't seem surprising that a film version would follow it. Though this film isn't a documentary and plays many things differently then they really happened, RKO 281 is an excellent film.The cast is first rate from Liev Schreiber's Orson Welles onwards. Schreiber might not do Welles distinct voice, but he captures the arrogance and genies of the young man. James Cromwell brings both menace and sympathy to William Randolph Hearst and for the two scenes in the film when these two are together you can feel the tension.The rest of the cast is just as superb. Of special mention is Melanie Griffith's performance as Marion Davies, the unfortunate victim of Citizen Kane and who becomes the reason for the battle over the film. John Malkovich, Brenda Blethyn, and the late Roy Scheider bring flesh and blood to these long dead members of the battle (writer Herman J. Mankiewicz, columnist Louella Parsons, and RKO executive George Schaefer). The production is a lavish one. The filmmakers take you to San Simon (aka Hearst Castle), the RKO sets for the film, the boardrooms of Hollwood and New York, and the homes of those involved. The effect is giving the viewer a sense of being there as film history happens. It's not of course but one gets that feeling. And now for the writing. The film is not, and does not claim to be, a documentary though it is based on the excellent PBS documentary The Battle Over Citizen Kane. The events seen in the film are a mix of fact and fiction. The opening dinner party scene is questionable and the apparent motive for Welles to do the film is likely fictional. But many of the details and even chunks of dialog are real or based on real events. Indeed the final third of the film (apparently) happened almost exactly as it is seen in the film. While some might argue over this, it works in the context of the film.In short RKO 281 is fiction based on fact. From the strong performances to the lavish production values, the fiction gives the viewer a new light on the legendary battle over a classic film and how it almost never made it to the public. If you're a fan of Welles or Citizen Kane, this is a must see. If not, prepare for a journey into the battle over Citizen Kane and how it almost brought down the film industry.

OK, so we all know that "Citizen Kane" was probably the all-time #1 masterpiece. Not as many people know that William Randolph Hearst tried to have the movie destroyed. "RKO 281" does a really good job telling that story. I will admit that Liev Schreiber seems to be overacting a little bit as Orson Welles, but he still does a good job in the role. Hearst (James Cromwell) is actually the most intriguing character in the movie: we see how this hypocrite did business with Hitler, sought to discredit FDR (believing the 33rd president to be a Bolshevik), and had a half-his-age mistress in Marion Davies (Melanie Griffith). In my opinion, Hearst had no good qualities.All in all, the movie's quite interesting, and I don't just mean as a part of cinematic history. What it portrays is part of Americana. Also starring John Malkovich, Brenda Blethyn and Roy Scheider.

The most remarkable thing about RKO 281 (subtitled "The Battle Over Citizen Kane") is that not only is it sympathetic to William Randolph Hearst and his paramour Marian Davies, but it also paints a less then flattering picture of film icon Orson Welles.Every film buff worth his popcorn knows, or at least should know, the legend of CITIZEN KANE: Welles, the brilliant, but naive Boy Wonder, takes Hollywood by storm with his amazing and groundbreaking first picture, but falls victim to the tyranny of the cruel, thin-skinned billionaire Hearst, who tries to destroy the brilliant work of art. It is the David and Goliath saga of Tinseltown, with an art triumphs over commerce subtext. But the makers of this made-for-cable drama have opted to pull a switcheroo. Just as Welles bravely (or foolishly) challenged the legendary tycoon Hearst, RKO 281 rather courageously takes on the Welles legacy of the misunderstood genius. The results are gratifying, though the facts end up blurred all the more. If there is, indeed, a villain in the whole CITIZEN KANE affair it would be screenwriter Herman J. Mankiewicz (played here by John Malkovich), who acted as Judas to W.R. and Marian, while serving as Iago to Welles's Othello. It was, according to historians, Mankiewicz who took a catalogue of firsthand observations and casual gossip gathered as a favored houseguest of the Hearst household and fashioned it into an unauthorized biography/screenplay. And it was Mankiewicz who goaded Welles to flirt with professional suicide by pursuing the project in the first place and by changing a film about a generic millionaire into a tale rife with details specific to Hearst. But RKO 281 ventures a different theory, suggesting that Welles devised KANE as an elaborate weapon of revenge against Hearst for having been insulted at a dinner party. One suspects that Welles' crime was more one of clueless indifference than vengeance, but the latter does make the film more dramatically provocative. Whatever the case, Welles clearly bit off a much bigger bite than he anticipated when he deemed Hearst's personal life fair game. Ironically, Welles' folly may not have been his audacity to attack Hearst, who surely faced greater critics, so much as the director's unintended assault on innocent bystander Davies. What RKO 281 highlights is that much of Hearst's ire against KANE was based to his desire to protect Davies from an unflattering portrayal and public scandal; not an unfounded fear, it would appear. In KANE, Hearst is presented in a mostly sympathetic light, and it is Davies who comes off the worst. Indeed, her alter ego, Susan Alexander is the film's least likable and empathetic character, an exceedingly dumb blonde who evolves into a shrieking, untalented alcoholic has-been diva. No other character in the film is as cruelly one-dimensional. Ironically, it may have been Mankiewicz's gallant, albeit foolish, attempt to protect his friend Davies, that caused all the problems. By making Susan so extremely different from the much beloved Davies, Mankiewicz may have thought people would see Alexander as a pure fiction. But such is the power and fame of KANE that then and future generations were destined to accept the legend over the reality and assume that Susan and Marian are one in the same. (Further irony: RKO 281 finds Marian played by a very Susan Alexander-like Melanie Griffith.)Though the film notes the irony of the muckraker publisher suddenly finding himself the victim of the type of tabloid journalism that made him famous, RKO 281 is mostly sympathetic to Marian and W.R., who are seen as the ones under attack. As played by Liev Schreiber, Welles is the film's villain, who, filled with arrogance and ambition, sweeps into town with an itch to make a reputation for himself and a willingness to exploit others to do so. His petty, pseudo-socialist rantings about the evils of the very rich seem hollow in light of his ambitious desire to exploit others fame and reputation to make a name for himself. It is a different, unflattering side of Welles, who is usually seen as the perpetually embattled artist.Yet, the plot takes another twist. Welles discovers that Hearst in particular and Hollywood in general weren't willing to just kowtow to his genius and like George Amberson Minafer in his THE MAGNIFICENT AMBERSONS, The Boy Wonder gets his comeuppance. Welles becomes just as much the victim of his arrogance as RKO, Hearst, Davies and Mankiewicz.RKO 281 is a slick and entertaining effort, but it does miss a golden opportunity. The film would have been so much better had it invented its own "Rosebud" to search for and imitated CITIZEN KANE's ambitious visual style and confessional mock-documentary narrative drive. RKO 281 is a very conventional movie about a very unconventional film.