Citizen Kane (1941)

         Citizen Kane, directed, written, and starred in by Orson Welles, is considered the best movie of all time. It is number one on the American Film Institute’s top 100 list. I can see how in its day it was a revolutionary movie; I can also see how it is still revered as a masterpiece today. I can appreciate the cinematography and idea that was years beyond itself, but I was not invested in the movie as I watched. Perhaps it is because I was raised in an era where a movie gets its ratings based on an entertainment factor, and something without riveting and seat gripping action is not “entertaining” and therefore no good. 

         The “seat gripping” suspense in Citizen Kane lies within the mystery of “Rosebud,” Kane’s dying words. Citizen Kane was ahead of its time with the “movie within a movie” plot, where the first scene explains Kane’s empire in a fast talking documentary style, and then cuts to a room full of men who decide the movie needs something more human, and from there the real story begins. This tactic allowed Welles to neatly give a full background of information at the beginning of the movie, without it actually having to blatantly spell it out and ruin the gradual flow and progression. This “behind the scenes” feeling gave the movie an edge as well.

         Citizen Kane also was artfully crafted and each cinematic shot was carefully thought out. The opening scene shows different angles of Kane’s palace, and many shots through and around the snow-globe that falls from Kane’s hand as he takes his last breath and utters his mysterious final words. Other moments with thoughtfully made shots include when Kane comes to his first day at the Inquirer and he appears taller than everyone. Immediately the height difference in a crowded room gives Kane an aura of power and authority. During the scene where Susan Alexander begs Kane to let her stop singing in the opera, when he has the final word at the end his shadow casts her in darkness and she sinks further onto her knees. This moment was striking, and although Susan was resisting shrilly throughout the whole beginning of the scene, she is immediately silenced and immersed in an oppressive darkness. Again giving Kane power. The movie opens with a “No Trespassing” sign, setting a tone for the proceeding events, and also closes with the “No Trespassing” sign, framing the whole movie with this omen of distance that is reflected in Kane’s life and love.

         I can appreciate why Citizen Kane originally made it to the number one spot, and I can appreciate why it is still there. In changing times the definition of “best” may shift; and when people who’s authority we respect deems something the “best” we agree. I personally have no authority to say Citizen Kane should no longer be number one, and I also don’t believe that to be the case. I do believe the qualifications for best movie are shifting, and no one would dare question the authority put into Citizen Kane. I also believe that the definition of “best movie of all time” will not shift, and therefore Citizen Kane will rightfully hold its post as number one for generations to come. 

By Tapley