Manik 2005

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Set predominantly in 1940, the film delves into the tumultuous journey of young Orson Welles, Tom Burke, as he is entrusted with an extraordinary opportunity by the struggling RKO Pictures. Unlike typical projects, Welles is given complete creative control over his latest film, allowing him to assemble his dream team and craft a masterpiece free from interference. He chooses to collaborate closely with the renowned screenwriter Gary Oldman, portraying the legendary Herman J Mankiewicz, popularly known as “Mank.”

The story unfolds at the North Verde Ranch in Victorville, California, where a physically battered Mank, suffering from a fractured leg, is confined to complete a critical screenplay within a tight 90-day deadline. Despite his injury, Mank is supported by his secretarial assistant, Lily Collins, and housekeeper, Monika Gossmann. Producer John Houseman, played by Sam Troughton, guides him on what to include, based on Welles’s expectations. Knowing Mank’s battle with alcoholism, Houseman supplies him with a case of nightcaps to keep him going. Meanwhile, Welles contacts him regularly, demanding that the script be finished in just 60 days, heightening the pressure.

While bedridden, Mank’s loyal secretary Rita Alexander meticulously documents his notes, capturing his creative process. The narrative then backtracks to three weeks earlier, at the Mankiewicz household, where his wife Sara, affectionately called “Poor Sara” and played by Tuppence Middleton, assists him into bed after a serious episode. Mank, increasingly irritable, rants about the impending doom of The Wizard of Oz sinking their studio. Soon after, he is involved in a car accident triggered by a young man named Tommy, which results in his fractured leg. This accident becomes the catalyst for Welles’s visit, where he proposes a partnership.

The film then transitions into flashbacks, revealing Mank’s earlier days within Hollywood during the 1930s. It depicts his visit to Paramount Studios, where a young Charles Lederer, played by Joseph Cross, meets Mank and his creative team—including figures like George Kaufman and Charles MacArthur—discussing movie ideas that seem reminiscent of “Frankenstein.” Despite their efforts, industry giants like David O Selznick and director Josef Von Sternberg show little interest. Later, Mank visits a film set and encounters MGM producer Irving Thalberg and studio head Louis B. Mayer, sparking recognition from MGM star Marion Davies, Amanda Seyfried, who shares a friendly familiarity with him.

Another significant scene takes place at Hearst Castle, where Mank and Sara attend a birthday celebration for Mayer, amid tense political discussions regarding the rise of Nazi Germany and socialist politician Upton Sinclair. Mank’s political sympathies become evident as he shows support for Sinclair, much to the disapproval of Mayer and Irving. The story also portrays Mank’s complicated relationship with Marion Davies and her romantic involvement with William Randolph Hearst, played by Charles Dance.

Back in the present, Mank’s strain increases as he grapples with personal losses—the presumed death of his husband, who was serving in the British Army, and the emotional toll of his deteriorating health. Houseman reminds him of the remaining two weeks to finalize the script, but Mank’s substance abuse worsens, fueled by Frieda, the housekeeper, who provides him with nightly doses of alcohol to help him survive Hitler’s oppressive regime in Europe.

The story continues with Mank working tirelessly, producing over 200 pages within 13 days, with support from a device that helps his creativity. Despite this achievement, he is told he will not receive official credit, as his contract prevents it, and the film’s protagonist is clearly modeled after Hearst. Political tensions unfold further—the California gubernatorial race sees Sinclair running against Frank Merriam, with Mank subtly voicing his opinions, even as MGM manipulates media against Sinclair.

Throughout the narrative, Mank becomes increasingly embroiled in Hollywood’s darker aspects, including smear campaigns against Sinclair, manipulated by studio power plays. His close friends and colleagues express concern over his increasingly reckless behavior. At pivotal moments, he confronts Marion Davies, urging her to persuade Mayer to reconsider certain damaging advertisements, but ultimately refuses to alter his screenplay—particularly when Marion pleads to protect Hearst’s reputation.

The story culminates in a drunken, defiant appearance at Hearst Castle, where Mank passionately advocates for his vision, only to be harshly scolded by Mayer. He faces-off with Hearst himself, who offers a cynical allegory about Mank’s dependency on the studio titan, comparing him to an organ grinder’s monkey—an image that reflects his feelings of exploitation and loss of control. The film then explores Mank’s struggles with his reputation, his battles with alcohol, and the lingering sense of regret.

In the early 1940s, Mank and Welles receive the ultimate recognition at the Academy Awards, winning for Best Original Screenplay for “Citizen Kane,” though neither is present to accept it. A radio broadcast features the real Orson Welles, who sarcastically acknowledges Mank with a line, “kiss my half,” highlighting the complicated relationship between the creators. Mank, in a rare moment of pride, accepts the award alone, stating, “That’s the magic of the movies”, as the film closes.

The closing notes reveal that Herman Mankiewicz passed away eleven years later at the age of 55 due to alcohol-related health issues, never again involved in a major film project. The film finalizes by reflecting on his feelings of entrapment and self-sabotage, revealing a man who, despite his talents, was often his own worst enemy—an artist haunted by his own demons until the very end.