Orson Welles

Start Free Trial

From 'Hudson's Bay' to the Legion of Decency: Welles and His Wonders: II

Download PDF PDF Page Citation Cite Share Link Share

"Citizen Kane" in its story uses the cut-back method—which is convenient but has its drawbacks in the constant interruption of a steady line…. For dramatic action, it shows its one big character in four main situations, supplemented by newsreel interludes here and there. This makes a pretty weak structure dramatically, so it has to be surrounded with a great deal of stationary talk, as Kane is described, analyzed, asked about, remembered, talked into existence and practically out of it…. The mood is established or heightened by an occasional symbol: the sled and the falling-snow toy, the curtain-warning light on the stage, the bird screaming in escape, etc. Symbols are a dime a dozen and justify their use in the result achieved. I thought the fading light filament and dying sound track at the end of the singer's career very effective; also the opening and close on the iron fence around the castle. The smoke rising to heaven at the end was trite to start with and dragged out absurdly.

As you can see, there is nothing startling in these component parts. The outstanding technical effect in the picture is in the conception of settings and the use of the camera….

The camera here loves deep perspectives, long rooms, rooms seen through doors and giving onto rooms through other doors, rooms lengthened out by low ceilings or made immense by high-angle shots where the ceiling seems to be the sky. Figures are widely spaced down this perspective, moving far off at will, yet kept in focus. The camera loves partial lighting or under lighting, with faces or figures blacked out, features emphasized or thrown into shadow, with one point of high light in an area of gloom or foreground figures black against brightness, with the key shifting according to mood, with every scene modeled for special effects with light batteries of varying function and power, gobos, barndoors, screens, what not. (p. 369)

Sometimes all this is fine and really does the job it is put to. Along with the wide action range, it is a relief from too much closeness and light, an effect of stretching. But at other times it appears just willful dabbling: figures are in the dark for no reason—reading without the light to see, for example; or they are kept in darkness right among other clearly lighted figures….

In the cutting there are several things noticeable. One is the long easy sweep you can get when a scene of action is covered in one long-range set-up. Another lies partly in the method of treatment and partly in lack of care, and that is the time-and-place confusion which arises when you go smack from the first two-thirds of a sentence to the last third of the same sentence, spoken elsewhere years later. This is done time and again and you might call it jump-cutting or you might call it the old shell game as far as the audience is concerned.

Another thing about the cutting that goes altogether to the fault of direction is the monotony and amateurism of handling simple dialogue. Over and over there are the two faces talking, talk, talk, talk, then close-up of the right speaker asking, then close-up of left speaker answering, then back to two. Outside of getting your name in large letters, being a director consists exactly in knowing how to break this up, to keep interest shifting, to stress the reaction to a line more sharply than the face saying it. This is what gives a picture life, and it isn't done by camera ructions, however clever.

Orson Welles was naturally entranced with the marvelous things the moving camera could do for him; and while much has resulted from this preoccupation, I think his neglect of what the camera could do to him is the main reason why the picture somehow leaves you cold even while your mouth is still open at its excitements. There may have been the heart and belief to put into it, but there wasn't the time to learn how this might be done, or much regard for any such humdrum skill. (p. 370)

As for the contributing departments in "Citizen Kane," Bernard Herrman's music is an active aid; the sets are made right, both for the fantastic and for use or living; it is an all-round class-A production. But the most effective things in it are the creation of Orson Welles's drawing board, not only in whole story ideas but in plausible and adult dialogue (witty, sardonic, knowledgeable), the impression of life as it actually goes on in the big world, the ready dramatic vigor….

This stuff is fine theatre, technically or any other way, and along with them the film is exciting for the recklessness of its independence, even if it seems to have little to be free for. There is surely nothing against it as a dramatic venture that it is no advance in screen technique at all, but a retrogression. The movies could use Orson Welles. But so could Orson Welles use the movies, that is, if he wants to make pictures. Hollywood is a great field for fanfare, but it is also a field in which even Genius has to do it the hard way; and "Citizen Kane" rather makes me doubt that Orson Welles really wants to make pictures. (p. 371)

Otis Ferguson, "From 'Hudson's Bay' to the Legion of Decency: Welles and His Wonders: II (originally published as "Welles and His Wonders: II," in The New Republic, Vol. 104, No. 24, June 16, 1941), in The Film Criticism of Otis Ferguson, edited by Robert Wilson (© 1971 by Temple University), Temple University Press, 1971, pp. 369-71.

Get Ahead with eNotes

Start your 48-hour free trial to access everything you need to rise to the top of the class. Enjoy expert answers and study guides ad-free and take your learning to the next level.

Get 48 Hours Free Access
Previous

'Citizen Kane' and One-Man Pictures in General

Next

The Quarter's Film: Orson Welles