Just because Citizen Kane is often cited as the greatest film ever made or the most important film of all time and just because you might have had to watch it in an "intro to film" class does not mean it’s homework. Unlike other landmark filmmaking oldies such as Birth Of A Nation or Battleship Potemkin, Citizen Kane is not a snoozer - it’s really amazingly entertaining. (Actually the "Odessa Steps" scene in Battleship Potemkin is a rather gripping piece of editing, but the rest of it is rather boring.) With his first film, Citizen Kane, the twenty-something wunderkind, Orson Welles, took on the Hollywood establishment (as well as William Randolph Heart’s publishing empire) and changed film, but most importantly made a fun, fun movie that still holds up quite well today.
The complicated plot of Citizen Kane famously mirrors the life of publishing tycoon William Randolph Hearst. As a boy Charles Foster Kane is taken from his mother when he inherits a small newspaper. Eventually he grows up to be Orson Welles. The film follows him from a cynical kid fresh out of college who thinks it would be fun to run a newspaper, to old age when he dies a miser and an extreme treasure hoarder. But what really made Citizen Kane revolutionary in 1941 was the way the story was told (besides Gregg Toland’s groundbreaking camera work). It opens with a long Newsreel documentary after Kane has died which tells his life story (though a press eye view). On his deathbed his last word was "Rosebud" and” a group of reporters sets out to find what or who was Rosebud. They interview the key people in his life, each telling different versions of Kane’s story, in flashbacks, from their perspective.Continue Reading
The Lady from Shanghai (1947)
A deeply weird thriller as exotically perverse as they come, The Lady from Shanghai is a solitary entry in the exclusive canon of "maritime noir." Much like The Big Sleep -- in that the plot is so utterly convoluted it becomes impossible to figure out who is double crossing whom -- yet is doesn't matter because the film succeeds as a glamorous nightmare, a proto-Lynchian exercise in atmospheric dread. It is less than a full vision of Welles's inimitable imagination because, as usual, the studio hacked away at the movie, adding corny musical cues, and soft-focus close-ups of Rita Hayworth where they didn't belong. But it mostly works because the images are so original and inspired and because Welles and Hayworth bring a genuine spark of sexual chemistry to their roles. Even when it's painful to notice the studio's inane additions to the film in compromise of Welles's artistry it's hard to regard the intense, dreamy, fragmented bits of brilliance the film is comprised of as a complete tragedy.
Welles plays Mike "Black Irish" O'hara, an "able-bodied seaman" for hire in New York. Mike's a romantic - a tough guy who writes poetry and killed a Franco spy fighting in the Spanish Civil War. He's a brooding, sexy tough guy with depth. He meets Elsa Bannister (Rita Hayworth), the wealthy wife of a crippled trial lawyer, Arthur Bannister, one night in Central Park. After rescuing her from an attempted gang rape in the park he is later propositioned by her husband to work on their yacht as they sail to Mexico. Mike can't say no to Elsa and soon they're sailing to Mexico. It's here where the film is most memorable as the landscape changes from a back lot version of Manhattan to actual location shooting of the ocean and a Mexican fishing village. As the characters are revealed to be more sinister the cinematography gets more and more darkly beautiful. Welles gets great things out of his cast and crew, and the result is unlike any thriller from the period. It's noir but in Welles's hands it transcends genre trappings.Continue Reading