"I suppose he had some private sort of greatness. But he kept it to himself. He never gave himself away. He never gave anything away. He just left you a tip. He had a generous mind. I don't suppose anybody ever had so many opinions. But he never believed in anything, except Charlie Kane. He never had a conviction except Charlie Kane in his life. I suppose he died without one."
Welles legendarily referred to filmmaking as “the biggest electric train set a boy ever had,” and that is the key to Kane’s importance. This ferocious monument of cinema is imbued with Welles’ youthful exhuberance as a pioneer in film as a formalist art and was light years ahead of anything else at the time. Aside from being stirring entertainment, Citizen Kane essentially gave birth to modern filmmaking.
The rise and fall of a tycoon the story is okay, it doesn't blow me out of the water but the use of the camera to tell it is a journey of Alice in Wonderland proportions on how fucking clever it is, every trick is pulled out here, blocking, shot composition, montages, reverse shots, long takes, low and high angles, lighting and sound it keeps going on and on. Greatest film? For some of the greatest directors it is!
70/100 (Aslında rahatlıkla 4 yıldız ama bu sitedeki puanlar komik seviyelerde olduğu için 3 yıldız. Teknik anlamda ve görüntü yönetmenliği anlamında bir mucizeye ulaşsa da senaryonun kırılma anları çok büyük zayıflıklara sahip. Anlamının polyanacı olsa da hoş olması, görüntü yönetimi- teknik başarısı senaryo ve oyunculuktaki açığı kapatamıyor. Devamı yorumumda...)
A film to admire more than enjoy, Wells and company lucked into something revolutionary here. The art has been altered for the good because of Kane's innovations. That doesn't make it a stimulating (emotionally or intellectually) movie to actually watch. Though not as bloated as it's epic forerunners, Citizen Kane is still incredibly slow, and much of it's writing quite on the nose. wait for the bird to wake you up.
Il castello di Xanadu uscito da un film horror-gotico, la regia (il grandangolo, la profondità di campo, i piani sequenza) e soprattutto la slitta, segreto del film, un segreto importante che non viene rivelato ai personaggi del film ma solo agli spettatori. C'è dell'intimità fra Orson Welles e il pubblico. E poi il tentativo di dare una soluzione al mistero, che fa sembrare il film un po' un noir metropolitano.
My generation isn't as viscerally attached to Kane as ones before us, as if visiting it is at best a dutiful/uncool concession to history. So do yourself a favor: see it in a theater with a full audience, and find that it's still vital and (yes) entertaining in its beauty and drama. And grant that while an absurd "greatest film ever" rep can't be true of anything, the breadth and richness make it a plausible pick.