Orson Welles

Start Free Trial

David Bordwell

Download PDF PDF Page Citation Cite Share Link Share

The best way to understand Citizen Kane is to stop worshiping it as a triumph of technique. Too many people have pretended that Orson Welles was the first to use deep-focus, long takes, films-within-films, sound montage, and even ceilings on sets. … Kane is a masterpiece not because of its tours de force, brilliant as they are, but because of the way those tours de force are controlled for larger artistic ends. The glitter of the film's style reflects a dark and serious theme; Kane's vision is as rich as its virtuosity.

The breadth of that vision remains as impressive today as thirty years ago. Citizen Kane straddles great opposites. It is at once a triumph of social comment and a landmark in cinematic surrealism. It treats subjects like love, power, class, money, friendship, and honesty with the seriousness of a European film; yet it never topples into pretentiousness, is at every instant as zestful, intelligent, and entertaining as the finest Hollywood pictures. It is both a pointed comedy of manners and a tragedy on a Renaissance scale. It has a Flaubertian finesse of detail and an Elizabethan grandeur of design. Extroverted and introspective, exuberant and solemn, Kane has become an archetypal film as boldly as Kane's career makes him an archetypal figure….

In its own way, Citizen Kane … recapitulates and extends film tradition. On a primary level, it makes sophisticated allusions to several genres: the detective thriller, the romance, the musical, the horror fantasy, the hard-boiled newspaper film, the big-business story, the newsreel, and the social-comment film. But Kane is more than an anthology. Testing the Lumière-Méliès tension, Welles, like Eisenstein, gives the cinema a new contemplative density by structuring his material on the nature of consciousness. What Eisenstein does between individual shots, Welles does in the film's total organization. Kane's great achievement, then, is not its stylistic heel-clicking, but its rich fusion of an objective realism of texture with a subjective realism of structure. Welles opens a new area to the cinema because, like Eisenstein, he not only shows what we see, but he symbolizes the way we see it.

Kane explores the nature of consciousness chiefly by presenting various points of view on a shifting, multiplaned world…. The film expresses an ambiguous reality through formal devices that stress both the objectivity of fact and the subjectivity of point of view. It is because the best contemporary cinema has turned to the exploration of such a reality that Kane is, in a sense, the first modern American film. (p. 39)

David Bordwell, "'Citizen Kane'," in Film Comment (copyright © 1971 by Film Comment Publishing Corporation; all rights reserved), Vol. 7, No. 2, Summer, 1971, pp. 38-47.

See eNotes Ad-Free

Start your 48-hour free trial to get access to more than 30,000 additional guides and more than 350,000 Homework Help questions answered by our experts.

Get 48 Hours Free Access
Previous

Charles Higham

Next

Stephen Farber