RKO 281 (1999) YIFY - Download Movie TORRENT

The key to enjoying this film is in being able to divorce yourself from the idea that this is an accurate representation of the making of Citizen Kane. RKO 281 as a stand-alone film is not bad, though the short running time left me feeling like I'd only seen the primary colors of what could've been a rich piece of fiction.And it does feel more like fiction than truth.Watching RKO 281 as a Welles enthusiast was a struggle. Welles himself was such a unique *presence*, a magician in more ways than one, and Liev Schreiber just doesn't evoke the god-like charisma and fury that were manifestations of Welles' particular genius. I would've preferred Vincent D'Onofrio (who pulled off an excellent Welles in Ed Wood after only two weeks of preparation) or even Oliver Platt. It is important to get the "character" of Welles RIGHT in a movie about his masterpiece. If RKO 281 failed egregiously on any level, it's this one.Though this film is about the MAKING of Citizen Kane, it doesn't address why Citizen Kane had such an impact later in its life. We know that Welles had to fight very hard to save his picture against a variety of political agendas. However, a hard-won battle does not a classic film make...on its own. The only clues we get from RKO character Welles are his passionate and other-worldly exclamations along the lines of, "I just KNOW this is the MOMENT for this story!--Everything I AM is in this film!", etc. It's too mystical for me, and I think it does an injustice to the efforts of Welles and his collaborators to suggest that it was simply the luck (and maliciousness towards Hearst) of a spoiled boy wonder that made what is widely considered to be the best movie of all time.Welles was in a unique position during that era. He had carte blanche in the movie studios--a status unprecedented before or since--and had the means to create his vision fully to his specifications. Getting the picture *released* was nothing short of a miracle, however, and I think it would've been interesting to dive into yet another layer of what Citizen Kane represents: Art for Art's sake. It's heartbreaking to note that Welles' subsequent film The Magnificent Ambersons was butchered beyond recognition by the studio--those who were fortunate enough to view Welles original (and now lost) cut thought that Ambersons was his true masterpiece, that Citizen Kane was merely a warm-up (!!!). Can you just imagine what this man could've accomplished if only...?Which brings me to William Randolph Hearst. RKO 281 barely scratches the surface of how powerful Hearst was at the time. The residual effects of his attempt to stop Citizen Kane's release were felt by the film industry (and by Welles in particular) for many years after, and I would've liked to see the nature of this confrontation more clearly.I've often said that Citizen Kane was Orson Welles' bane and salvation, for we see in hindsight that he sacrificed himself (and ultimately his future)to earn a beautiful and tragic place in cinematic history. Overall, I wanted an edgier, darker, and more complex account of RKO 281. If I remove all pre-conceived notions and expectations, I find that this docudrama is interesting and fun to watch, but ultimately, I cannot help being drawn back to what made this 1999 film possible: the tumultuous triumph of a long-shot movie as envisioned by a temperamental, inexperienced genius. There are many shadowy folds to the real story of Citizen Kane, and RKO 281 feels like a bowl of plastic fruit in comparison.

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".

RKO 281

1999

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RKO 281

1999

Biography / Drama

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