141. Citizen Kane (1941)

Directed By Orson Welles

Synopsis

Newspaper magnate Charles Foster Kane dies leaving as his last words the enigmatic "Rosebud", a group of journalists goes out to try to find what Rosebud means, meanwhile unveiling the life of Kane.

Review

From Bank Dick in 1940 which I found to be extremely overrated we come one year to Citizen Kane, Welles' masterwork and not at all overrated. Well, maybe I wouldn't say it is the best film of all times, but it certainly is pretty close to that. This is not to say however that it is the most enjoyable film of all times, in fact there are many other films that I'd rather watch and re-watch than Kane, but looking at this film you understand why it tops all polls of Directors and film business people.

This is technically the most amazing film, Welles is creating a bit of his own Xanadu in this film, it is a pastiche of elements from the best cinema up until the 1940's but Welles has enough vision to actually improve upon all of his ancestors. The presence of German expressionism is more than obvious, giving the film an almost horrific tone of heavy shadows.

Nothing had looked so beautiful in cinema until now, not even Gone With The Wind got close, and the plot of the film is also of extreme importance, today as well as in any other time. Kane is Hearst but he is also a slightly more benevolent Rupert Murdoch, he is the power of the press in all it's terror. Of course this isn't the first film about the power of the press, hey there's His Girl Friday... but none took it so seriously and so spectacularly as Citizen Kane.

The film is almost like a trip into the mind of Welles, the complexity of the images, the amount of detail put into each and every single scene, the brilliance of the shifting of scenes, the horrible beauty of it all, makes this film a masterclass in cinema. It really is something else, there is nothing like it, the only problem with the film is that you are so dazzled by it that you forget that the acting, except for Welles is sometimes not to the level of the rest of the film. Still, it is a pretty perfect film. Get it from Amazon UK or US.

Final Grade

10/10

Trivia

From Wikipedia:

Film scholars and historians view Citizen Kane as Welles' attempt to create a new style of filmmaking by studying various forms of movie making, and combining them all into one (much like D. W. Griffith's The Birth of a Nation did in 1915). Welles' acting style can also be seen as an early example of method acting. For example, the scene where Kane vents his anger from the top of a staircase, at his political opponent Jim Gettys. Welles tripped and chipped his anklebone during the filming of the scene, but the cameras continued to roll and the shot made it into the final print of the film. Some view this as an example of Welles' workhorse ethic. As a director, Welles disliked actors who subscribed to method acting, considering them unreliable.[citation needed] In particular he dismissed the practice of internalizing as being a hindrance rather than contributing to the production as a whole. He liked to work with actors who were malleable to his vision and always prepared to change a delivery at the drop of a hat without too much worry over motivation. Welles, as an actor, frequently practiced cold reading and spent more time memorizing lines (which never took him long) than doing any mental prep work. It is commonly agreed, however, that there are instances in Citizen Kane where Welles became consumed with his role. In one famous scene in the movie, Kane destroys his second wife's bedroom with his bare hands after she has left him. According to biographers, after Welles destroyed the room and shooting finished he stumbled off the set with bloody hands muttering to himself, "I felt it. I felt it."

The most innovative technical aspect of Citizen Kane is the extended use of deep focus (the use of deep focus was not, contrary to urban myth, unprecedented, but it had never been used to this extent). In nearly every scene in the film, the foreground, background and everything in between are all in sharp focus. This was done by renowned cinematographer Gregg Toland through his experimentation with lenses and lighting. Specifically, Toland often used telephoto lenses to shoot close-up scenes. Anytime deep focus was impossible — for example in the scene when Kane finishes a bad review of Alexander's opera while at the same time firing the person who started the review — Toland used an optical printer to make the whole screen appear in focus (one piece of film is printed onto another piece of film). However, many deep focus shots were the result of in-camera effects, as in the famous example of the scene where Kane breaks into Susan Alexander's room after her suicide attempt. In the background, Kane and another man break into the room, while simultaneously the medicine bottle and a glass with a spoon in it are in closeup in the foreground. The shot was an in-camera matte shot. The foreground was shot first, with the background dark. Then the background was lit, the foreground darkened, the film rewound, and the scene reshot with the background action.

Another unorthodox method used in the film was the way low-angle shots were used to display a point of view facing upwards, thus allowing ceilings to be shown in the background of several scenes. Since movies were primarily filmed on sound stages and not on location during the era of the Hollywood studio system, it was impossible to film at an angle that showed ceilings because the stages had none. Welles' crew used muslin draped above the set to produce the illusion of a regular room with a ceiling, while the boom mikes were hidden above the cloth.

One of the story-telling techniques introduced in this film was using an episodic sequence on the same set while the characters changed costume and make-up between cuts so that the scene following each cut would look as if it took place in the same location, but at a time long after the previous cut. In this way, Welles chronicled the breakdown of Kane's first marriage, which took years of story time, in a matter of minutes. Prior to this technique, filmmakers often had to use a long period of screen time to explain the character's changed circumstances. For example, in Erich von Stroheim's masterpiece Greed, the breakdown of the marriage of the main characters takes almost an hour of screen time, even in the most abbreviated cut.

Welles also pioneered several visual effects in order to cheaply shoot things like crowd scenes and large interior spaces. For example, the scene where the camera in the opera house rises dramatically to the rafters to show the workmen showing a lack of appreciation for the second Mrs. Kane's performance was shot by panning a camera upwards over the performance scene, then a curtain wipe to a miniature of the upper regions of the house, and then another curtain wipe matching it again with the scene of the workmen. Other scenes effectively employed miniatures to make the film look much more expensive than it truly was, such as various shots of Xanadu.

The film broke new ground with its use of special effects makeup, believably ageing the cast many decades over the course of the story. The details extended down to hazy contact lenses to make Cotten's eyes look rheumy as an old man. Welles later claimed that his own dashing appearance as a young man also involved a lot of makeup (including some strategically applied tape to give him a mini-facelift).

Welles brought his experience with sound from radio along to filmmaking, producing a layered and complex soundtrack. In one famous scene the elderly Kane strikes Susan in a tent on the beach, and as the two characters silently glower at each other as a woman at the nearby party can be heard hysterically laughing in the background, her giddiness in grotesque counterpoint to the misery of Susan and Kane. Elsewhere, Welles skillfully employed sound effects to create a mood—such as the chilly echo of the monumental library, where the reporter is confronted by an intimidating, officious librarian.

In addition to expanding on the potential of sound as a creator of moods and emotions, Welles pioneered a new aural technique, known as the "lightning-mix." Welles used this technique to link complex montage sequences via a series of related sounds or phrases. In offering a continuous sound track, Welles was able to join what would otherwise be extremely rough cuts together into a smooth narrative. For example, the audience witnesses Kane grow from a child into a young man in just two shots. As Kane's guardian hands him his sled and wishes him a "Merry Christmas" we are suddenly taken to a shot of Kane fifteen years later, only to have the phrase completed for us: "and a Happy New Year." In this case, the continuity of the soundtrack, not the screen, is what makes for a seamless narrative structure. (Cook, 330)

Welles also carried over techniques from radio not yet popular in the movies (though they would become staples). Using a number of voices, each saying a sentence or sometimes merely a fragment of a sentence, and splicing the dialogue together in quick succession, the result gave the impression of a whole town talking--and, equally important, what the town was talking about. Welles also favored the overlapping of dialogue, considering it more realistic than the stage and movie tradition of characters not stepping on each other's sentences. He also pioneered the technique of putting the audio ahead of the visual in scene transitions; as a scene would come to a close, the audio would transition to the next scene before the visual did.

Newsreel on the life of Kane (at the beginning of the film) :