So here we are. You know, when I thought about starting this Cinematronica thing a while back, I always knew I would have to review Citizen Kane. It is the most wonderful of all American films, to me, and although that may come as a sort of surprise from a 23 year old, and perhaps I might come off as somwhat pretentious for choosing something so obvious, it’s a film I take very close to my heart. For me, Citizen Kane is a crucial story for the American cinematic mindset; it is both blockbuster and daring independent film, a debut from a young upstart who had his own ideas as to how films would be made; a child of studio expectations and fiercely personal individual goals that ends up being freater than the sum of its parts. It tells a story that touches me to my very core, a story of loss, ambition, greed, and that most human desire to be loved and truly understood. There is something here that truly lays hands on perfection, a considerable skill, a very noticeable ambition, and a love of cinema that transforms this film from merely a film to a work of art, and an exceptional one at that.

We follow the story of Charles Foster Kane, a man who grew from humble origins to eventually amass a wealth that most people could not ever imagine. We begin at the end of his life, when a group of reporters gather together to find clues on the enigmatic man’s life, loves, and mysterious last word, “Rosebud.” The reporters interview many of Kane’s close friends and acquaintances, and discover a man who had an indomitable spirit but a terrible hunger for power that would both found a massive newspaper empire and simultaneously demolish his aspirations for anything else. But even with all the people in his life explaining who he is, they soon find Kane to have an unspoken quotient to him, something unexplainable to him that keep them from understanding him fully. Will they discover the mystery of “Rosebud”? Does it help to explain the life of a man who was larger than life but so much smaller than his own desire?

Citizen Kane is, in some ways, a treatise on the state of America in modern times. In other ways, there are definite links to Kane and legendary news tycoon William Randolph Hearst that echo throughout the film. And in other ways, one could also link, eerily, I might add, the tragic downturn of Orson Welles himself after his failure in Hollywood. Citizen Kane has the power to twist and turn its meaning through the years; it is a character study without peers, astute and wise, that seems to mean different things to different people. For me, it leaves a very individualized print on my heart that would take another essay just to explain, and I’m sure the meaning and the emotional power is found elsewhere for others. It is a film whose true value cannot be honestly appraised, and whose very meaning is neatly encased by the end of the picture but still loftier than one can begin to express before the credits are over.

The filmmaking is some of the finest I have ever laid my eyes on. From a technical standpoint, there are things going on here that are WAY ahead of its time. Deep focus is the process of making everything in both the foreground and background of a shot look sharp. Almost every scene in Citizen Kane uses this effect somehow, to my honest surprise. The effect requires massive amounts of staging beforehand, making sure things stay absolutely in focus the whole time, so this isn’t something one could just go for in 1941. But Welles does, and the effect speaks for itself. Every scene is beautiful, looking clear, crisp, fresh, and striking. The score by Bernard Hermann is one of the best of the 1940s, blending sorrowful themes with the punchy tunes of industry and drive that perfectly explains the world around Charles Foster Kane. And although Orson Welles, in his career ,would go on to direct films that to this day have yet to be equaled, Citizen Kane, his first film, was his most impressive as a director. He directs not with that Hollywood flair that was so popular at the time, but with that independent eye for evocative imagerythat would go on to dominate his aesthetic sensibilites (as well as damn his Hollywood career…). Kane, with the dynamic direction Welles utilizes, is seen less like Phillip Marlowe from The Big Sleep, but rather Kihachi from A Story of Floating Weeds.

Orson Welles knows just how to direct Orson Welles, because his turn as the mysterious Charles Kane is one which will live on forever. His face is a mask of avarice, but just beneath it is something wounded, something wanting. Although Kane pushes everyone away from him, there is a part of this character that cannot think of a more dreadful punishment than being alone. It is a complicated character, but one that Welles excels at playing, and he does justice to his own writing by acting superbly. Joseph Cotton plays Jedediah Leland, Kane’s best friend. Through his interview scenes and his real interaction with Kane, Cotten spins a wonderful character that wants what’s best for Kane, even if telling him the truth means destroying his relationship with him. His charming, smirking demeanor as a person adds a lot of spice to this character, and I, for a change, liked how much of himself he left in the character. Dorothy Comingore plays the haunting role of Susan, Kane’s mistress, and later wife. She has a great range, and I felt a great deal of sympathy for this character as she took more emotional distress from the curmudgeon Kane than she really deserved. But her intensity, that piercing gaze of hers, keeps us glued to her every moment Susan pops on-screen, and I kept hoping the longer the movie went on that she would have more scenes. She’s really quite lovely here, a joy to watch.

What else is there to say? Citizen Kane is a monolith of American cinematic history. It is simply an amazing achievement, all of it made even more amazing still when one takes into account that this was a debut feature. Orson Welles created something here that transcends lists or “Best of” segments or “pretentious” reviewers like myself prattling on about its glory. It’s just something that American fans of cinema need to experience to truly understand the language of our films and the emotional truths of our work. Citizen Kane represents the best we have to offer in terms of technical innovation, impeccable writing, and superb acting. It is an American institution, and, whether you like it or not, it has a message that is undeniably relatable and culturally relevant even today. I truly love it, and I give it an enthusiastic 10 Rosebuds out of 10! My highest recommendation!

Tomorrow is the LAST day of Cinematronica, the last leg of my 365 day journey, and the last review period I shall post for a week! Tomorrow I go back to where it all began for me. Tomorrow I watch Akira! Until then!!!

“You can’t buy a bag of peanuts in this town without someone writing a song about you.”  ~~Charles Foster Kane

There’s a laundry list of reasons why Orson Welles’ sweeping character study “Citizen Kane” consistently ranks high — or at the tip top — on any Best Films Ever Made in the History of the World list. Cinematography, use of makeup, bold subject matter (biopic of a living, highly visible public figure), music, special effects, that punch-you-in-the-neck twist ending – all there, all faultless, all revolutionary. And though these qualities certainly contribute to the film’s greatness, what matters most, what makes “Citizen Kane” such a timeless stunner, is Orson Welles. He fills up every frame of the movie with his energy, his nerve, his presence and his passion. 

What Welles does so beautifully, first and foremost, is create a vivid, layered, flawed protagonist – the ultimate antihero — and populate his world with the people who believe they know him but, in the end, know even less about him than we do. That protagonist, of course, is Charles Foster Kane (Welles), an ultra-rich media mogul with a penchant for quotable observations and huge impulse buys, including the New York Inquirer (which he buys because he thinks “it would be fun to run a newspaper”). In fact, much of his Kane’s direction is determined by his whims and the way these wild fancies damage the people around him. He trades his first wife Emily Monroe Norton (Ruth Warrick) for a much-younger wannabe opera star Susan Alexander (Dorothy Comingmore). His ability to consolidate power by manipulating people, the force of Charles Foster Kane, lays waste to his marriages and frays his friendships beyond repair. “You only want want love on your own terms. Something to be played your way, according to your rules,” his best friend Jedediah (Joseph Cotten) rages at him. How right he is.

This in itself would be a richly textured and fascinating film, but Welles, operating under the “more is more, and more is always better” philosophy, takes it a step further with the frame story: Kane, that larger-than-life figure, has died holed up a recluse in Xanadu, his sprawling, opulate and empty estate. The story becomes an international sensation, with reporter Jerry Thompson (William Alland) digging into Kane’s background and private life to discover his secrets, including the meaning of “rosebud,” his last word before dying. His interviews with Kane’s associates, including his business manager (Everett Sloane) and Jedediah Leland, reveal a man more interested in creating his own myth than using his wealth to become a spokesman for the common man. When he doles out his money or his affection, he expects to direct and control its flow, to rule unquestioned. What we learn in the final scene — Welles dubbed it “a gimmick”; that’s the understatement of the Aztec calendar – barely softens Kane’s razor edge.

It’s possible that this is precisely what Welles wants: to control us the way Charles Foster Kane attempts to control everyone around him. Yes, control defines “Citizen Kane,” makes the film a true work of art. Welles does, after all, make us wait and wonder about the tidbits we hear about Kane; he paints us a portrait of him as one way, then flips the canvas to show another side. There’s always a line we missed, something in the background that slipped right past while we sat, stunned, all wrapped up in Kane’s filibustering or awed by his swaggering presence. The control Welles exerts over his audience — which reveals itself oh so suddenly in the final scene — is mind-blowing. There’s just no other word for it.

Manipulation aside, the performances here cement the movie’s initial promise. There are no small parts, no throwaway characters. Cotten brilliantly shows the raw nerves exposed by years of badgering, the long, then sudden end of a dear friendship. Cotten in particular is a walking, oozing wound, so damaged by her husband’s bullying nature she’s a shell soaked in booze. But Welles … well, “Citizen Kane” revolves around his magnificent, destructive presence. He’s such a total force of nature that resistance is useless. But with a film this good? Surrendering to the storm is sweet, indeed.

No trespassing(vietato l’ingresso) recita una targa sul cancello di un’enorme villa; la cinepresa ci guida da una finestra verso l’interno:un uomo disteso sul letto ha in mano una palla di vetro, dentro la quale è riprodotta una casa immersa nella neve, un primissimo piano ne inquadra la bocca mentre pronuncia la parola Rosebud; subito dopo l’uomo muore, un’ infermiera entra a ricomporre il corpo, la cinepresa si allontana e tra i titoli di testa appare il nome del regista, Orson Welles.
Così inizia un film affascinante e controverso, innovativo nella tecnica di realizzazione( uso della profondità di campo, del piano sequenza, del grandangolo per allargare l’immagine tanto in orizzontale che in verticale)come nell’esposizione narrativa, con una frammentazione temporale non fine a sé stessa, ma volta a dare una visione soggettiva della vicenda, riproponendo a volte lo stesso episodio, raccontato con nuovi particolari dai protagonisti; la cinepresa è l’occhio del regista, sottolinea ogni particolare, rendendo lo spettatore unico depositario del significato di Rosebud.
Da un cinegiornale apprendiamo che l’uomo morto è Charles Foster Kane (Orson Welles), magnate dell’editoria, proprietario di stazioni radio, di varie industrie ed altre attività;ne viene descritta sommariamente la vita pubblica e privata e alcuni giornalisti nel visionare il filmato ritengono che le ultime parole di Kane in punto di morte possano far capire meglio la sua figura:uno di loro intervista le persone a lui più vicine, ottenendo solo diverse versioni di fatti che già conosceva:da bambino Kane è affidato ad un tutore, in modo che da adulto possa gestire un’eredità materna;a venticinque anni salva dal fallimento un giornale facente parte del suo impero, dirigendolo in modo spregiudicato, imbonendo le masse, arrivando a possedere trentasette testate;concorre alla carica di governatore, è dato per vincente, ma il suo avversario politico rivela alla stampa la relazione con Susan(Dorothy Comingore), aspirante cantante lirica, che diverrà la sua seconda moglie e che cercherà di avviare al successo, ma i soldi nulla potranno contro la mancanza di talento; lasciato da Susan, resterà solo sino alla fine dei suoi giorni nella immensa residenza Xanadu.
Premio Oscar 1942 per la miglior sceneggiatura originale(Welles e H.J.Mankiewicz), il film critica un capitalismo non basato su tradizioni familiari, ma sulla gestione di una fortuna, che usa la democrazia e tutto ciò che questa offre(ad iniziare dalla libertà di stampa) come foglia di fico della brama di potere: Kane manipola le masse a suo piacimento, facendo credere di offrire quanto desiderano, usa le sue ricchezze solo per accumularne altre, illudendosi di poter comprare anche l’affetto delle persone, soddisfacendo il narcisistico bisogno di essere amato non riuscendo ad amare, rimpiangendo la giovanile spensieratezza e la perduta innocenza.

trailer (em inglês)

Título no Brasil : Cidadão Kane

Lançamento: 1941

Direção: Orson Welles

Leia a Sinopse

Efeito em Mim: … ainda estou pensando… rsss

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trailer (em inglês)

Título no Brasil : Cidadão Kane

Lançamento: 1941

Direção: Orson Welles

Leia a Sinopse

Efeito em Mim: … ainda estou pensando… rsss

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Rosebud.

– Charles Foster Kane

Citizen Kane is another movie that I was embarrassed that I never seen until this morning. It is currently #32 of the Top 250 of all time on IMDB. It was nominated for nine Oscars and it won for Best Screenplay. This is great film making, but it does have some flaws.

Recounting the tumultuous life of wealthy tycoon, Charles Foster Kane (Orson Welles) when he dies at the beginning of the story. He uttered his famous last word, “Rosebud.” The main thrust of the story is a reporter trying to meaning of the Kane’s final word.

The camera shots with objects, people, lighting in three different distances in great.

The ten minute newsreel footage in the beginning of the movie turned me off.

I had some problems with the pacing. I thought that the film was three hours long. It was only two, but it felt like five. It moved like molasses in some sections. I had to take a break to eat something. I almost dozed off.

Dorothy Comingore as Susan was good, but at times, she got on my nerves with her squeaky voice. When she sang, it was beautiful. When she was not yelling, I loved her, but when she did yell, I wanted to turn the movie off.

The whole reveal of what Rosebud was anti-climatic. I knew what it was before it was revealed. When I thought about it, Rosebud had to deal with the life that he left behind to be the person that he didn’t want to be. It was understandable.

Rating: ****

A fascinating story of idealism corrupted by wealth Citizen Kane is frequently named the greatest film of all time and is credited with inspiring more directorial careers than any other film in history. Orsen Welles and Agnes Moorehead star.

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