“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.

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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CITIZEN KANE (RKO) Orson Welles, Joseph Cotten, Ruth Warrick, Agnes Moorehead, Everett Sloane. The life story of a controversial newspaper magnate told through interviews with those who knew him.

Awesome in its scope and dramatic flare, this motion picture is regarded by some as the best ever made. I am not qualified to pass such a judgment. However, it is a very engrossing picture and one which broke ground technically in its camera work (by Gregg Toland) not only for a striking treatment of light and shadow but also in originating, I believe, the technique of deep focus.

The movie is also unusual in that its star, director and co-writer (along with Herman J. Mankiewicz) is Welles, a radio phenom in his twenties who had never done anything in Hollywood before. Also the leading roles in the film are played by members of his radio company, not known as motion picture actors. Still, the most sensational aspect of the film is that it was widely believed to be based on the life of a living celebrity, the famous publisher and political power William Randolph Hearst. Though Welles denied this, Hearst apparently believed it and refused to advertise or even mention the film or Welles in any of his newspapers (one of which I happened to work for at the time as a 15-year-old copy boy !?!).

So, you see, it was a unique piece of cinema at the get-go (especially for me), masterpiece or not. The direction, acting and ageing make-up are remarkable. As possible negatives, there is a certain self-consciousness (hammyness?) to it and a definite political slant.

Scale of 10: I give it all of that.

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: ****

One of the greatest film sequences ever shot.  I was going to write up an analysis of it as a mix for my film noir class and my blog, but there is no analysis needed.

It has Rita Hayworth at her hottest and the always great pair of Orson Welles and Everett Sloane. And so many great quotes.

“One who follows his nature keeps his original nature in the end.”

“Of course, killing you is killing myself. It’s the same thing. But you know, I’m pretty tired of both of us.”

With a career approaching nearly six decades Paul Newman has shown himself to be one of Hollywood’s most enduring superstars. Now available on DVD are 7 of this Hollywood living legend’s films in The Paul Newman Collection. Bonuses include new and vintage featurettes.Set Includes:HARPER (1966)SOMEBODY UP THERE LIKES ME (1956)THE LEFT HANDED GUN (1958)THE YOUNG PHILADELPHIANS (1959)POCKET MONEY (1972)THE MACKINTOSH MAN (1973)THE DROWNING POOL (1975)

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