![]() Some of the points are made by the people questioned some are made in what there is of story as it moves over the years from back to front but the main point is that Citizen Kane wanted love from the world and went to most of his fantastic extremes to get it, yet never had any love of his own to give. He said a thing when he died and the March of Time wants to make a story out of it, so we start combing the file of old acquaintance, with episode by episode told in flashbacks, and eventually we get the answer through the efforts of the inquiring reporter, who tracks down documents, the man’s oldest friend, his newspaper manager, the girl, the butler of the castle. The picture starts right in with the death of Citizen Kane alone with his crates of priceless art treasures in his fabulous castle on a mountain, where he has ruled for a time at least a miniature of the world. The things to be said are that it is the boldest free-hand stroke in major screen production since Griffith and Bitzer were running wild to unshackle the camera that it has the excitement of all surprises without stirring emotions much more enduring and that in the line of the narrative film, as developed in a countries but most highly on the West Coast of America, it holds no great place. ![]() ![]() ![]() The outline of the story is simplicity itself, almost like saying, “Once upon a time there was a man of whom certain things are remembered.” But its presentation is managed in complex ways and its conclusions are so vague with the shadows of meaning that it is easy to read almost anything into it, including what was actually put there. Citizen Kane can be approached in several ways: as a film, as an event, as a topic of the times, etc. ![]()
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