Citizen Kane

            Citizen Kane is an incredibly fascinating and thought-provoking film, which calls one to consider the intricacies of not only the plot, but the way that the story was filmed as well.  Orson Welles’ use of different shots, lighting, and sound helps to convey the story and other concepts to the viewer.  Because of these aspects of filming, the viewer is able to note the mood, tone, and style of the film.  In viewing Citizen Kane, it is clear that there are many deeper questions to be asked, such as that mentioned by the New York Times review concerning the value of one’s soul.  Welles’ use of the aforementioned techniques clearly helps to pose this question as well as cause a timeless interest in this 1941 film.

            The film begins and ends with some of the same images: a close-up of a “No Trespassing” sign and a long shot of the great Xanadu.  These images certainly convey a sense of continuity which brings together the entire movie, but they also provide the initial and final insights concerning the film’s protagonist.  Charles Foster Kane is a man who never truly lets others in.  His thoughts and motives are his own, and no one else has his permission to be privy to them.  The great distance between the camera and the palace demonstrates also the great personal distance between those observing Kane and Kane himself.  The self-obsessed man maintains his distance, while longing for the reciprocation of a love that he never gives.  When Leland and Kane fight about this very concept in the newspaper office, the camera is tilted upwards from a point near to the floor.  In this conversation, the two men discuss the public, referring to them as “the people,” and Leland comes to the realization that Kane feels some sense of ownership of the public through his influence, and what Kane believes to be his own philanthropic tendencies.  It is possible that we, as viewers, see this particular scene from so low a position to give us a sense of the position of “the people” in Kane’s mind.  Likewise, at the end of the film, the camera is tilted downwards from an elevated position and pans over an immense mass of statues, junk, and crates containing other items from Kane’s collection.  In using this view, Welles may have meant for the viewers to survey Kane’s collection possibly as Kane might have, with an incredible sense of wealth, but an underlying and insatiable emptiness.  As the camera zooms in to a close up of the sled with the elusive “rosebud” painted on, we sense Kane’s longing for something other than what he had, perhaps with an unexpected sentimentality.

            Orson Welles did not only understand how best to shoot a film, but also how to use the sounds in a film to convey the mood and contribute to a sense of continuity as well.  His impressive use of sound encompasses the use of both diegetic and extra-diegetic sound of voices, music, and other noises in the film.  For the first few minutes of the film, the viewers watch a newsreel about Kane’s life which is narrated by a bold and expressive classic television voice of the 1940’s.  When Kane gives his speech at the political rally, he uses similar intonation which serves as a connection between the two and also a method of setting the tone to remind the viewer that these are media performances meant to excite and interest, further demonstrating the intriguing character that Kane is.  Shortly after Kane’s political speech, Kane engages in an argument with Gettys, his political opponent.  As Gettys is leaving the building, Kane shouts after him continuously until Gettys shuts the door, transforming Kane’s voice into a car horn of a similar tone.  This change indicates a change of scenery, of course, but also represents Kane’s political defeat, as his previously booming politician’s voice is now reduced and drowned out by a simple car horn.  All of these are examples of diegetic sound, whereas there are some musical examples of extra-diegetic sound as well.  In order to demonstrate the passage of time and Kane’s rise to great wealth, influence, and fame, there is a series of his newspapers shown to the sound of an upbeat extra-diegetic soundtrack which is closely followed by the diegetic use of the song praising Kane which has a similar sound and also serves the purpose of praising the man.  Another diegetic musical example occurs when Kane and Susan fight inside of the tent.  There is upbeat music outside which contrasts their heated argument.  Near the end of the argument, when Kane slaps Susan in the face, the music stops and is replaced by what seems to be screaming.  The source of the screaming woman is not explained, but serves to demonstrate the danger of the situation and its argumentative nature.

One characteristic of Welles’ use of lighting that I found interesting was the lack of fill lighting to even out the light in a particular scene.  Many of the scenes were full of shadows, perhaps conveying the nature of Kane himself; much is hidden to all those who know him, and only select aspects of his character are brought to light.  In most cases, the lighting used is closest to low key lighting; although it is not so dark that it is difficult to see, there are many shadows.  One very interesting use of key light takes place when Thatcher reads Bernstein’s diary.  There is a window high in one corner of the room, through which shines a bright, supposedly natural, light that shines directly onto the table and the diary, illuminating primarily that which is most crucial to the scene as if to emphasize its importance.  Later on, Welles uses backlighting in Susan’s room during the discussion between Kane and Gettys to show that both men, quite literally, are somewhat shady and are willing to perform underhanded acts in order to achieve their political goals.  After her premiere at the opera, Susan is sitting among newspapers and reading reviews in a noticeably well-lit room.  This is emphasized further when she is arguing with Kane who stands over her, casting a very dark and overbearing shadow which poses as a great physical threat and imposition.  These, among many other examples, demonstrate Welles’ brilliant use of lighting to express information about characters and the storyline, which might not be conveyed otherwise.

            Orson Welles certainly undertook a great challenge when creating Citizen Kane, but performed incredibly in doing so.  While Kane’s character remains somewhat of a mystery, the New York Times is correct in saying that the film is “cynical, ironic, sometimes oppressive and as realistic as a slap”.  Welles makes sure of this with his brilliant use of shots, sound, and lighting.  Citizen Kane is a striking and fascinating film which will remain timeless for its ability to truly capture an audience.