Citizen Kane: Boastful or Bashful

By: Keshia Winder

          

             Watching Citizen Kane in present day does not make an individual want to jump for joy. However, watching Citizen Kane with a critical eye provides a deep appreciation for some of the finest components of filmmaking. The episode of flashbacks and flash-forwards creates an illusion of a jigsaw puzzle indeed. The pieces of the puzzle rely on the reflections of his friends and acquaintances presents a bit of a challenge. Each character embellishes the truth. Lovingly the camera and lights contributes heavily to the continuity of cutting while each character strolls down memory lane. For instance, Jed leland’s character provides a moralistic view of how we should conduct ourselves with people. In the scene of Jed looking up into a high-angle shot with bundles of newspapers descended behind him summons the presence of Kane as if questioning, look what you’ve done again. The lighting appears to shine on portions of his face especially the eyes. His facial expression embodies a mixture of shock and contentment while his body language remains stiff facing forward. Leland’s disposition remains consistent to his theory of judging Kane by his actions ad not what he says.

            The more vulnerable character Susan Alexander Kane strengthens film elements immensely. Susan’s nonchalant character truly defines Kane’s treacherous personality. Photographed scenes of the flawless beauty lying on the floor surrounded with statues in a low-angle shot expanding on the high darken ceiling expresses the width, length and depth of her despair. Although he had given her a life beyond her imagination the dissipation of love cannot equate. Each time Susan’s face appears on camera in a close up, we observe emotions she is unable to express. The reaction shot of Kane’s announcement of his Opera Stadium foreshadows his pressure for her to reveal her talent. In hide-sight Kane represented a classical version of Ike Turner.  Lastly, Susan’s debut on the stage lyrically exemplified the absence of positive emotions. She looked flushed of energy and life in general, setting up the idea that she no longer had a dream of her own to live for or a reason to continue her life. The transitions among Susan’s memory is quite ratifying she received applause even though her “talent” is mediocre but this symbolic applause could be taken as a standing ovation for loving such a heart less man. The motifs of applause are brief but noteworthy.

            In the case of Citizen Kane, the cuts were brilliantly applied.  Tom Kirk writes Citizen Kane is, “Complex and pessimistic theme of a spiritually-failed man”. Yes he has lost his ways according to his friends but as each character navigated through their memory it was important to view Kane in their eyes. They will be carrying his memory because as the viewer our only image of the man for ourselves was his last breath. While image reflected his childhood, mise en scene infinite charm provided a child-like setup. Who can remember falling asleep with a toy in their hand to find it on the floor in the morning? The stylistic approach to have a old man return to his childhood in his final moment in life while those who remain living recapturing his memory is genius. The motif of the “Rosebud” also invites an intimate analogy of Kane. In a sense he appears to beg for his innocence before he dies, perhaps providing atonement for his arrogant behavior.