The debate over who wrote the Academy Award-winning screenplay for “Citizen Kane” is resurrected in “Mank.”

The film takes the side of Herman J. Mankiewicz, nicknamed “Mank,” who sued to obtain credit for co-writing the screenplay for “Citizen Kane” (1941), regarded by many critics and cinema historians as the greatest film ever made.

“Mank” posits that Mankiewicz (1897 - 1953) wrote the entire screenplay. “Mank” could be subtitled the Kane mutiny.

“Citizen Kane” director and star Orson Welles (1915 - 1985) maintained that he rewrote the screenplay several times after Mankiewicz wrote it.

Mankiewicz received an Oscar with “Citizen Kane” director Orson Welles for writing the screenplay for “Citizen Kane.”

“Citizen Kane” is an amalgam of the fictionalized public and private lives of newspaper magnate William Randolph Hearst and several other media barons of the 1920s and 1930s.

“Mank” hews to the story about Mankiewicz’s version of writing the screenplay for “Citizen Kane”; Mankiewicz (Gary Oldman) relationship with his wife, Sara (Tuppence Middleton); his rapport and rancor with Hollywood movie studio chiefs, fellow writers and Hearst (Charles Dance), and his conversations with Marion Davies (Allentown’s Amanda Seyfried).

The film seems to faithfully recreate in art direction, production design and costumes the Hollywood studio system and social life of mid- to late 1930s’-early 1940s’ Hollywood.

The screenplay by Jack Fincher (1930-2003; who wrote for Readers Digest, Saturday Review and The Smithsonian, and is the father of director David Fincher) uses multiple flashbacks, titled in screenplay format parlance, with some appearing to be flashbacks within flashbacks, creating a perplexing storyline.

We see Herman J. Mankiewicz sequestered at a Los Angeles area ranch, where he dictates the “Citizen Kane” screenplay to a secretary, Rita (Lily Collins).

“Mank” director David Fincher (Two-time Oscar nominee, director, “The Social Network,“ 2010; “The Curious Case Of Benjamin Button,” 2008, and director, “The Girl With The Dragon Tattoo,” 2011; “Gone Girl,” 2014; “Zodiac,” 2007; “Panic Room,” 2002; “Fight Club,” 1999; “Se7en,” 1995; “Alien 3,” 1992, and music video director) seems to have concentrated on the look of the film rather than its feeling and impact.

Moreover, the number of characters, most of whom are given scant screen time, mucks up the works. The dialogue, quippy and scrappy as it is, doesn’t serve the advancement of the story.

I was really looking forward to “Mank,” given that it was directed by Fincher, is about Hollywood, “Citizen Kane,” and stars Allentown native Amanda Seyfried. Perhaps because of my heightened anticipation, I found the film to be disappointing. I felt that I was watching a film or a filmed play. Seldom did the film rise to the level of creating emotion. “Mank” is flat, with dreary stretches of monologues, a subplot about Upton Sinclair’s 1934 California gubernatorial campaign, and runs too long.

“Mank” is the latest among contemporary movies to be filmed in black and white. Here, too, “Mank” misses the mark.

While black and white theatrical releases coexisted with color releases well into the 1960s, color movies dominated theatrical releases such that black and white movies became and are a novelty.

A new look at black and white cinematography was triggered by “The Last Picture Show” (1971, director Peter Bogdanovich), which stood out among the field of color films.

Contemporary cinema black and white theatrical releases include “The Lighthouse” (2019, director Robert Eggers), ”Roma” (2018, Alfonso Cuarón), ”The Artist” (2011, Michel Hazanavicius), “Frances Ha” (2012, Noah Baumbach), “Good Night, And Good Luck” (2003, George Clooney), “Pleasantville” (1998, Gary Ross), “Ed Wood” (1994, Tim Burton) and “Schindler’s List” (1993, Steven Spielberg).

Black and white cinema is said to correlate to the human brain because humans are said to predominantly dream in black and white. In a darkened movie theater, especially when viewing a black and white movie, it’s conjectured the movie-goer enters a dream state of mind.

Black and white cinema offers advantages for film directors, notably the filming of an actor’s eyes and facial planes. If you’re a fan of Turner Classic Movies on cable television, you probably have noticed this in films such as “Rebecca” (1940, director Alfred Hitchcock), with Laurence Olivier and Joan Fontaine; “Citizen Kane” (1941, Orson Welles), with Welles and Joseph Cotton; “Casablanca” (1942, Michael Curtiz), with Humphrey Bogart and Ingrid Bergman, and “All About Eve” (1950, Joseph L. Mankiewicz, brother of Herman J. Mankiewicz and Wilkes-Barre natives), in which Bette Davis’ eyes really shine.

Use of black and white cinematography depends on the director’s collaboration with the director of photography and lighting designer, and art and production design staff.

In this, “Mank” leaves much to be desired. Some scenes or portions of scenes are awash in light as to be overexposed. Most scenes are underexposed with the actors’ faces and especially their eyes in shadow. There’s an absence of hair lights to halo an actor’s head.

This true of Gary Oldman (Oscar recipient, actor, “The Darkest Hour,” 2017; Oscar nominee, actor, “Tinker Soldier Sailor Spy,” 2011), who as Herman J. Mankiewicz captures the boozy brilliance of the screenwriter. Though his eyes are mostly in shadow land, Oldman caterwauls, cajoles and whispers to great effect. He flails his body fearlessly as if a drunkard who feels no pain. Look for an Oscar actor nomination for Oldman.

Amanda Seyfried (“Mamma Mia! Here We Go Again,” 2018; “First Reformed,” 2017; “Les Miserables,” 2012; “Dear John,” 2010; “Mamma Mia!,” 2008; “Mean Girls,” 2004) as actress Marion Davies, purported to be William Randolph Hearst’s mistress, fares much better in her presentation in the film. The cinematography clearly emphasizes her big eyes and lights her classically-beautiful face in a ghostly white. Seyfried sparkles and glows. Look for an Oscar supporting actress nomination for Seyfried.

“Mank” is very much “inside baseball,” and is of chief interest to film buffs, especially those of classic Hollywood movies, and also for fans of Amanda Seyfried, Gary Oldman, David Fincher and “Citizen Kane.”

“Mank,”

MPAA rated R (Restricted Under 17 requires accompanying parent or adult guardian. Contains some adult material. Parents are urged to learn more about the film before taking their young children with them.) for some language; Genre: Biography, Drama; Run time: 2 hr., 11 min.; Distributed by Netflix.

Credit Readers Anonymous:

“Mank” locations include Kember Campbell Ranch, Victorville, Calif., where Herman J. Mankiewicz wrote “Citizen Kane.” “Mank” replicates punch holes in the upper right frame used to time movie theater reel changes for celluloid films.

Movie Box Office,

Dec. 4-6: “The Croods” continued at No. 1, with $4.4 million, on 2,205 screens; $20 million, two weeks. “Half Brothers” opened at No. 2, with $720,000 on 1,369 screens.

3. “Freaky” dropped one place, $460,000, on 1,502 screens; $7.7 million, four weeks. 4. “All My Life,” $350,000, on 970 screens, opening. 5. “The War with Grandpa,” starring Allentown’s Oakes Fegley, dropped two places, $329,359, on 1,285 screens, and $17.6 million, nine weeks. 6. “Elf” stayed in place on the shelf, $320,000, on 550 screens, $1.1 million, four weeks, 2020 re-release. 7. “Come Play,” starring Allentown’s Winslow Fegley, dropped two places, with $236,000, on 773 screens, $8.9 million, six weeks. 8. “Let Him Go” dropped four places, $216,000, on 1,113 screens; $9 million, five weeks. 9. “Honest Thief” dropped three places, $190,000, on 785 screens; $13.8 million, nine weeks. 10. “Die Hard,” $189,000, on 1,172 screens, opening, 2020 re-release.

Movie Box Office,

Nov. 27-29: “The Croods” opened at No. 1, with $9.7 million for the weekend, and $17 million since opening Nov. 25, on 2,211 screens, dropping “Freaky” from No. 1, with $770,000, on 1,735 screens, and $7 million, three weeks.

3. “The War with Grandpa,” starring Allentown’s Oakes Fegley, dropped from No. 2 with $643,937, on 1,500 screens, and $17.2 million, eight weeks. 4. “Let Him Go” dropped from No. 3, with $453,000, on 1,447 screens, and $8.7 million, four weeks. 5. “Come Play,” starring Allentown’s Winslow Fegley, dropped one place, with $387,000, on 1,029 screens, $8.8 million, five weeks. 6. “Honest Thief” stayed in place, $350,000, on 975 screens; $13.5 million, eight weeks. 7. “Elf” stayed in place on the shelf, $320,000, on 683 screens, $783,568, three weeks, 2020 re-release. 8. “Tenet” stayed in place, $300,000, on 656 screens; $57.4 million, 13 weeks. 9. “The Santa Clause,” $170,000, on 1,090 screens; $706,000, two weeks, 2020 re-release. 10. “National Lampoon’s Christmas Vacation,” $170,000, 308 screens; $220,000 since opening Nov. 25. 2020 re-release.

Movie box office information is from Box Office Mojo.

Unreel,

Dec. 11

“Wild Mountain Thyme,”

PG-13: John Patrick Shanley directs Emily Blunt, Christopher Walken, Jamie Dornan and Jon Hamm in the Romance Drama. An Irish couple gets involved in a family land dispute.

“The Stand In,”

R: Jamie Babbit directs Drew Barrymore, Holland Taylor, Lena Dunham and T.J. Miller in the Comedy. An actress known for comedies trades places with her stand-in.

“The Very Excellent Mr. Dundee,”

PG-13: Dean Murphy directs Paul Hogan, Chevy Chase, John Cleese, Luke Hemsworth and Olivia Newton-John in the Comedy, Paul Hogan is knighted.

“Archenemy,”

No MPAA rating: Adam Egypt Mortimer directs Luis Kelly-Duart, Zolee Griggs and Skyland Brooks in the Action Adventure film. A superhero with no super powers named Max Fist is only believed by a teen-ager.

Unreel,

Dec. 5

“Nomadland,”

R: Chloe Zhao directs Frances McDormand and David Strathairn in the Drama. An elderly women who loses her house travels the American west in a van.

“Wander,”

R: April Mullen directs Aaron Eckhart, Tommy Lee Jones, Heather Graham and Katheryn Winnick. A private investigator looks into the death of his daughter.

“Love, Weddings & Other Disasters,”

PG-13: Dennis Dugan directs Diane Keaton and Jeremy Irons in the Romance Comedy about wedding planners, the weddings they plan and their own lives.

“Elyse,”

No MPAA rating: Stella Hopkins directs Anthony Hopkins and Lisa Pepper in the Drama. A woman is institutionalized in a hospital.

“All My Life,”

PG-13: Marc Meyers directs Jessica Rothe and Harry Shum Jr. in the Romance Drama. A couple’s wedding plans are disrupted when the groom has liver cancer.

“Billie,”

No MPAA rating: James Erskine directs the documentary film about jazz singer Billie Holiday.

“Dear Santa,”

No MPAA rating: Dana Nachman directs the documentary film about letters to Santa mailed to the North Pole via the United States Postal Service.

“Half Brothers,“

PG-13: Luke Greenfield directs Luis Gerardo Mendez and Connor Del Rio in the Comedy Drama. A Mexican aviation executive learns he has a half-brother in the United States.

Movie opening dates are from Internet Movie Database.

Three Popcorn Boxes out of Five Popcorn Boxes