Orson Welles' CITIZEN KANE (1941)was perhaps the first American film since the silent era to fully demonstrate the possibilities of the film medium, and the role of the camera. Welles' camera is mobile, no longer the static device used to merely show faces, and Toland's deep-focus cinematography revolutionary. Welles tinkers with traditional filmic narrative conventions to craft a work that is now often termed a 'textbook' of the cinema.
Welles himself plays Kane in a remarkable acting performance that requires him to age progressively (which Welles does very convincingly) over the decades. Welles draws significant parallels between Kane and media mogul William Hearst in a statement that probes wealth, power figures and what we perceive as 'truth'.
Kane is presented to the audience as an enigma- we never do get a full-bodied portrait of the man, only snippets of highly subjective memories from those who say they "knew him". In the newsreel, a montage of images that details Kane's life and eventual decline, a variety of viewpoints are established. He could be both a Fascist and a Communist- a megalomaniac manipulating power to his advantage or, indeed, being manipulated himself. It is ironic that the true meaning of 'Rosebud' is never discovered by the on-screen reporters, just as the true essence of the man Kane is never fully revealed to the audience. What is Kane searching for? Is it the untouched youth and innocence symbolized in 'Rosebud', or something he himself is not aware of?
Kane is never truly sympathetic, yet he is wholly fascinating. He seems to lament the status and power that wealth has given him ("If I hadn't been very rich than I may have been a very great man"), then buys another load of cold statues and ornaments. His cruel treatment of second wife Susan Alexander in his insistence that she train as an opera singer suggest his unwavering persistence, and unwillingness to accept defeat. Kane is willing to stand alone ("I am Charles Foster Kane!") yet seems to crave a filler to his loneliness ("I know too many people. I guess we're both lonely"). Kane is ultimately indefinable; a jigsaw puzzle that both Susan and the audience struggle to piece together into anything whole or real.
Welles used actors from his Mercury Theatre to populate this story of greed, corruption and vanity. Friend and close confidant Joseph Cotten becomes friend and observer Jebediah, who is a witness to Kane's slide into moral decay. Dorothy Cormingmore portrays Susan Alexander, a thinly veiled take on Hearst's real-life mistress Marion Davies. She possesses a similar honking Bronx whine and limited talent in her master's chosen area of success (For Davies this was dramatic roles in films; her talent lay in comedy). Distinguished actors Moorehead, Sanford and Sloane also feature in support.
One aspect that is perhaps ignored in favor of focusing on the technical innovations is the truly amazing screenplay, one which offers just as many quotable snippets of dialogue as a 'CASABLANCA' or 'ALL ABOUT EVE'. Welles' understanding of the soundtrack is often overlooked. A memorable scene involves a bored Susan Alexander whining to Kane that she "never gets any fun" because they "live in a castle". The visual portrait is fascinating, with Alexander perched on a seat as a princess, complete with tiara in her hair. The echo of her words and Kane's mechanical replies in the huge, yet empty, room speaks volumes for Welles' understanding of the film as a sum of all parts. Here, the sum adds up to perfect- direction, acting, writing, photography and music.
The imposing, haunting Xanadu is similar to Hitchcock's Manderlay in REBECCA (filmed the previous year) in that the mansion operates as a both a character and a symbol of the protagonist. Kane's half-finished palace seems to come the closest to suggesting his character- grandiose, larger than life, powerful...yet strangely empty and unfulfilled.
Welles himself plays Kane in a remarkable acting performance that requires him to age progressively (which Welles does very convincingly) over the decades. Welles draws significant parallels between Kane and media mogul William Hearst in a statement that probes wealth, power figures and what we perceive as 'truth'.
Kane is presented to the audience as an enigma- we never do get a full-bodied portrait of the man, only snippets of highly subjective memories from those who say they "knew him". In the newsreel, a montage of images that details Kane's life and eventual decline, a variety of viewpoints are established. He could be both a Fascist and a Communist- a megalomaniac manipulating power to his advantage or, indeed, being manipulated himself. It is ironic that the true meaning of 'Rosebud' is never discovered by the on-screen reporters, just as the true essence of the man Kane is never fully revealed to the audience. What is Kane searching for? Is it the untouched youth and innocence symbolized in 'Rosebud', or something he himself is not aware of?
Kane is never truly sympathetic, yet he is wholly fascinating. He seems to lament the status and power that wealth has given him ("If I hadn't been very rich than I may have been a very great man"), then buys another load of cold statues and ornaments. His cruel treatment of second wife Susan Alexander in his insistence that she train as an opera singer suggest his unwavering persistence, and unwillingness to accept defeat. Kane is willing to stand alone ("I am Charles Foster Kane!") yet seems to crave a filler to his loneliness ("I know too many people. I guess we're both lonely"). Kane is ultimately indefinable; a jigsaw puzzle that both Susan and the audience struggle to piece together into anything whole or real.
Welles used actors from his Mercury Theatre to populate this story of greed, corruption and vanity. Friend and close confidant Joseph Cotten becomes friend and observer Jebediah, who is a witness to Kane's slide into moral decay. Dorothy Cormingmore portrays Susan Alexander, a thinly veiled take on Hearst's real-life mistress Marion Davies. She possesses a similar honking Bronx whine and limited talent in her master's chosen area of success (For Davies this was dramatic roles in films; her talent lay in comedy). Distinguished actors Moorehead, Sanford and Sloane also feature in support.
One aspect that is perhaps ignored in favor of focusing on the technical innovations is the truly amazing screenplay, one which offers just as many quotable snippets of dialogue as a 'CASABLANCA' or 'ALL ABOUT EVE'. Welles' understanding of the soundtrack is often overlooked. A memorable scene involves a bored Susan Alexander whining to Kane that she "never gets any fun" because they "live in a castle". The visual portrait is fascinating, with Alexander perched on a seat as a princess, complete with tiara in her hair. The echo of her words and Kane's mechanical replies in the huge, yet empty, room speaks volumes for Welles' understanding of the film as a sum of all parts. Here, the sum adds up to perfect- direction, acting, writing, photography and music.
The imposing, haunting Xanadu is similar to Hitchcock's Manderlay in REBECCA (filmed the previous year) in that the mansion operates as a both a character and a symbol of the protagonist. Kane's half-finished palace seems to come the closest to suggesting his character- grandiose, larger than life, powerful...yet strangely empty and unfulfilled.