CITIZEN KANE

US, 1941, 119 minutes, Black and White.
Orson Welles, Joseph Cotten, Everett Sloane, Dorothy Comingore, Ruth Warwick, Paul Stewart, Ray Collins, Agnes Moorehead. George Colouris.
Directed by Orson Welles.

Citizen Kane has frequently been named as the Best Film ever made and its viewing over the almost seventy years since its first release tends to confirm its very high rating. It is an excellent film on all counts.

The amazing thing about the film is the genius of Orson Welles behind it. Only young, he co-authored the screenplay, a complex work of flashback, realism and dramatic power. He directed in a most imaginative way, collaborating his photographer, Greg Toland: angle shots, full use of black and white shadows… And, of course, he directed himself in a fine performance as Charles Foster Kane, ageing from the young enthusiastic journalist to the dying megalomaniac who whispers 'Rosebud' on his deathbed. The audience discovers that Rosebud is his childhood sled. It is a final word and an American commentary on the Gospel saying, ‘What does it profit a man to gain the whole world and lose his soul?’.

Citizen Kane uses the device of a journalist trying to understand a character, piece together the different stages and facets of his life by interviewing friends, acquaintances and rivals, looking at newsreel footage.

Welles also directed his Mercury Theatre players, many of whom became familiar in films: Joseph Cotton, Everett Sloane, Agnes Moorhead.

Wells was very daring in his day – he was only 26 the year the movie was released – and modelled Kane on the media tycoon, William Randolph Hearst, his career and his relationship with the actress, Marion Davies.

Citizen Kane explores a man, America, power, clashes of wills, friendship and love, and, ultimately, the meaning of life. It should be seen by as many as possible.

1. This film is considered to be one of the best ever made. Why? What are the main qualities for its reputation? Its impact on its first release in the early 40s? Continuing impact?

2. The film as the product of the genius of Orson Welles: writing, directing, acting? This film at the beginning of his screen career, the quality of his acting at the age of 25, his interpretation of the older Kane? The quality of the script, its structure, the verbal wit and intelligence? His particular skills as director, what he drew from the actors, his visual set-ups, use of light and darkness etc.? Citizen Kane as a work of commercial art? How much did the film focus on Orson Welles himself?

3. Comment on the comparisons with the career of William Randolph Hearst. The similarity to the life of other American tycoons especially Howard Hughes? The sagas and mysteries of American wealth, power? American judgement on these tycoons? World judgement?

4. The importance of the structure of the film: the initial preventative barbed wire, the 'No Trespassing' sign, the room and the atmosphere of death, the bowl with the artificial snow, the last word 'Rosebud? The audience on a journey into Xanadu and out again, with the warning at the end of 'No Trespassing'? The importance of the fact that others did not know the significance of 'Rosebud'. but the audience did? The symbolism of the word 'Rosebud', the symbolism of the sled? Was this an important symbol, or as some say, a journalistic trick?

5. The use of black and white photography, the importance of light and darkness, shadows, brightness? How did this contribute to atmosphere, to characters, e.g. Susan Alexander, Big Jim Gettys and his being photographed in the dark? Themes of light and darkness, black and white? How much grey was there in the film?

6. The importance of starting with death, the tone that this gave the film? The biblical theme of 'what does it profit a man'? The moralizing tone right from the beginning? How did this moralizing, parable tone continue?

7. The impact of the newsreel device: the march of time, its popularity in 1940, the style of the newsreel. the American bumptious style, the presentation of surface, the sensationalistic style comment, the tone of the commentator? The device for giving us the 'mini-film' of the life of Kane? Sufficient information about his origins, his career? A quick summary look at the character and his career? How well did this newsreel penetrate the character and the times of Kane? Its comments on his origins, fortune, on Thatcher and presenting Thatcher's comments. his success, the Depression, Hitler and his declaration that there would be no war, the presentation of Xanadu and its comments on this palace, the presentation of his funeral? How much did the

8. The device of the quest to discover more about Kane? The use of Thompson as a searching figure, the audience sharing the quest and puzzle, especially with the 'Rosebud' emphasis? The presentation of the men interested in getting to understand Kane, the journalists, the film men, their interest in the story, their presentation for the public? What rights did they have to pursue the privacy of Kane?

9. Thompson and his journey to the Thatcher estate: the mystique about Thatcher, the library, the vast statue, the silence of his memorial, the respect of the keeper for the library and the manuscript? The emphasis on the manuscript and Thatcher's story about Kane? The framework for the flashback for his origins? What did Kane do to Thatcher? Thatcher's observation on what Kane did not achieve?

10. The visualizing of Kane's origins: as seen through Thatcher's eyes, the simplicity, the Colorado Lode? The boy's relationship with his mother and father, the mother's strength, the father's weakness? Thatcher and his taking the child away. the symbolism of his being hit with the sledge, 'Rosebud'? The atmosphere of money, the seeming harshness of the mother? How did Kane remember his mother and her influence on him? Love or not, giving him away?

11. The gradual growth of Kane. his education and his corresponding irresponsibility? His attitude towards his fortune? The continued confrontations with Thatcher. Thatcher's dislike of him? The irony of their later ideological differences? Their observations on what it was to be a great man? (Would Kane have been a great man without his money?)

12. The introduction of the paper, his decision to run the paper, his motivations? Whim, popularity, the use of money? The atmosphere of joyfulness with the arrival, with Jed Leland and Bernstein? Their hopes, the stuffy men on the staff, changing the working hours, going after sensations? Questions of circulation, the growth of the paper, Kane changing the front page and then declaring his principles. (and the later irony of Leland's use of them?). The gaining of the new staff (the device of the photo)? The party, the speeches, Bernstein's adulation. Leland's distancing? The song about Charlie Kane and Kane's joining in? Kane's running of the paper, his relationship with his employees (the cup memento given to him?)? Was Kane a great newspaperman?

13. The interview with Bernstein? Bernstein in his old age, the nature of his memories, the story of the girl in white? The atmosphere of money, the American atmosphere and political situation at the turn of the century, the play for power, the role of the press? Kane and his responsibility for the Spanish-American? war? The corrupting influence of power?

14. The presentation of Kane's marriage, his shyness and arrival with Emily, the way of his announcing his engagement? The marriage and his ambitions, political expectations. the presidential connection? The visualizing of the marriage in the famous 'breakfast sequences', comment on the technique, the communication of mood, relationship? What had happened to the marriage?

15. The irony about the marriage to Emily when the audience knew of the marriage to Susan Alexander, had already seen Susan Alexander at the beginning of the film in her drunken state? The contrast with the pleasantness of the meeting with Susan, the mud on the suit, the simplicity of her toothache, her taking him in, his making her laugh. especially with the shadows, her not knowing his reputation and identity, her singing? What fascinated Kane about Susan? The contrast with Emily? The contrast with his ordinary world? The nature of the liaison and its effect on each?

16. The irony of the liaison at the time of his political ambitions, the dram of the rally, the crowds, the huge photo, the emphasis on 'Citizen Kane', his playing to the gallery, the adulation of the crowds and his followers, the distance of Emily? His moral attitudes, especially to corruption, his attitude towards Gettys? (Gettys in the shadows). The significance of the content of Kane's speech? The sudden revelation of hypocrisy? The irony of the showdown and Emily's use of the address and her going to Susan's place with him? The confrontation and the dramatics of this? Emily's feelings, Gettys' power, Kane's helplessness and obstinacy, Susan being ignored and worrying about her reputation? His decision to stay with Susan? How foolhardy was this, how honest? The after-effects, especially on Kane's career and ambitions?

17. The paper and its use and abuse of Kane? Ruining his chances at the poll? The irony of the two headlines at Kane's headquarters?

18. Jed Leland and his memory of Susan's wedding, the pomp of the marriage, Susan's singing lessons and the effect on her/ the opera house and the sensationalism of its being built, the opera choice for her? The shambles of her performance, her being hurt, the contrast with her view of the lessons, the exasperation of the maestro and Kane's pressure on him? The irony of Leland's review and Kane's finishing it and firing him, the money given to him? The impact on Susan and her attempted suicide? The irony then of her later singing career and her drunkenness? What had Kane done to Susan?

19. The character of Jed Leland: Thompson's meeting him as an old man, his whimsy and the cigars, his attitude towards the nurses? How much truth was there in what he said, in his memories? His memory of support for Kane, their clash, his going to Chicago and not speaking, his reaction to the opera, to the review, to his being sacked, the money? The importance of Leland's comments on Kane's greatness, his friendship, his loving, his wanting to be loved, money and power?

20. The impact of the Depression on Kane, a crash, but not so badly affected?

21. The buildings of Xanadu? The significance of the name, the gigantic proportion of Kane's ambitions and wealth? The mammoth size of it, the March of Time commentary on it, the later presentation in the film2 The collection of artwork, pictures, its vastness? The room with the huge fireplace, the distance between Kane and Susan, her playing jigsaw puzzles, her wondering about New York time, the emptiness even despite the party? what had Kane achieved? The importance of his growing solitary attitudes, becoming a recluse?

22. The build-up to Susan's walkout, her standing on her own feet. The melodramatics but the effectiveness of Kane's smashing her room?

23. The final interviews with Raymond? The character of Raymond, sinister attitudes, spying? His observations, comments on 'Rosebud?

24. The aftermath of Kane's death, the reporters and the photographers, the assessing of the wealth, the packing of everything in crates, the mystery still remaining? The irony of the visual presentation of 'Rose-bud' burning?

25. The film as an example of the quality of American film-making, the qualities of Hollywood? Visuals, acting, the music?

26. A film about the American themes of money, power, influence?

27. What is it to be a great man, in oneself, the effect on others, loyalty and love? The themes of human nature, of good and evil?