Citizen Kane (1941)

by guestwriter

Citizen Kane was the debut of Orson Welles as a director. Incredible as it may seem, Orson wrote, produced and played the main male character. The story evolves around the life of a press magnate, Charles Foster Kane, with evident hints to the life of a real media man, William Randolph Hearst, who fought with his most fierceful powers to stop the shooting of the movie and who set a new target for himself: to discredit this cinematic achievement. He didn’t succeed.

Citizen Kane is one of the most American movies in history and in the end it resumes to this: money doesn’t bring happiness, but loneliness and misery.  The word “rosebud” is the central puzzle of the film, but we won’t spoil the mystery for you if you haven’t seen it yet. The true force of Citizen Kane, besides the fact that it went against the conventions of chronological narratives, is given by Gregg Toland’s cinematography. He developed a new technique based on the depth of the visual field. Thanks to his discovery, the close-shot, which is the closest to the eye, the medium visual shot and the background are simultaneously seen in the take. In other words, the viewer is given the option to pick the part of the image he wants to concentrate on. This is going to be the month of Orson Welles on Classiq. 


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