Last Monday, November 24th Professor Mike Jones made a special presentation of Orson Welles' Citizen Kane. Professor Jones, who usually teaches my Films of Alfred Hitchcock class, gave a lecture on the climate of Hollywood at the time the film was made, and spoke about the stylistics and dynamics of the classic film. Citizen Kane was released in 1941, and heralded a change in American cinema; the film was revolutionary for its use of sound and dark visuals. Welles' film set many ground rules for film noir and auteur cinema. The director was only twenty-five while making this film, yet he was already a well known figure thanks to his radio programs and stage performances. Because of his predilection for sound, which he gained during his radio days, the film features realistic sounds and dialog, as well as sound bridges that connect scenes. His cinematic influences are apparent in this film; he was fascinated with John Ford, Jean Renoir, and F.W. Murnau. Welles' admiration for Murnau's Expressionistic angles and lighting are evident in an early scene in the movie. After a film reel showing Charles Foster Kane's life story ends, a group of characters are left in a dark, hazy screening room, which is only illuminated by two shafts of light coming down from the projection booth up above. This example of chiaroscuro lighting, which allows for deep shadows, is featured throughout the film and is key to the film noir style that flourished in the following years.
I am particularly interested in auteur cinema, and was amazed at how much control young Orson Welles exercised during the creation of this movie. He co-wrote the film, directed it, starred in it and even had the final word on how the film should be edited. RKO Studios allowed Welles an unprecedented amount of freedom with Citizen Kane, and their faith in him resulted in one the most well-regarded films ever.
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