In future Britain, Alex DeLarge, a charismatic and psycopath delinquent, who likes to practice crimes and ultra-violence with his gang, is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
A group of reporters are trying to decipher the last word ever spoken by Charles Foster Kane, the millionaire newspaper tycoon: "Rosebud." The film begins with a news reel detailing Kane's life for the masses, and then from there, we are shown flashbacks from Kane's life. As the reporters investigate further, the viewers see a display of a fascinating man's rise to fame, and how he eventually fell off the top of the world. Written by
The lengthy scene where the older Jedediah Leland is interviewed at the old folks' home was Joseph Cotten's very first scene in front of a Hollywood camera. Orson Welles' broken ankle had forced the rescheduling of this scene, which originally was supposed to be shot towards the end of the film, so Cotten hadn't gotten around to learning his lines yet. Consequently he was supposed to do the scene from cue cards but because his old-age make-up included contact lenses dipped in milk and a wig that wouldn't stay on (hence the sun visor) Cotten took a couple of hours out to learn the lines properly. See more »
When Leland and Bernstein are inspecting Kane's art purchases, Leland moves a statue which wobbles too quickly for it to be made of a dense stone such as marble. See more »
CITIZEN KANE may let some people down, but it's still worth seeing.
It's a difficult undertaking for someone of my generation to watch a film like CITIZEN KANE. Not because it's "too old" or "too boring", but because it has been hailed--almost universally--as the single best motion picture ever made. And while the anticipation of seeing a film with such overwhelming acclaim may be quite exhilarating, actually watching it is ultimately an intimidating and somewhat disappointing experience.
This isn't to say that I thought CITIZEN KANE was a bad film; in fact, I thought everything about it was downright brilliant. From the enchanting performances right down to the meticulously planned camera movements and clever lighting tricks, there isn't a single element of CITIZEN KANE that isn't a stunning achievement in all areas of filmmaking.
CITIZEN KANE's storyline is deceptively simple. Even though the plot unfolds by jumping in and out of nonlinear flashbacks, it is surprisingly easy to keep track of. The straightforwardness and relatively fast pace of the story are what make it seem intimidating. Because everything moves smoothly along without any standstill, it feels like we are being fooled-like there is something much greater that we just can't seem to grasp. As a first-time viewer, I knew from its reputation that there must be *something* that separates this movie from all the others; something buried within its simple plotline that everybody else has seen, but that I just could not seem to get a handle on. And then, during those final frames, that something was revealed, and it all began to make sense. To me, it was these moments of confusion and uncertainty followed by a sense of enlightenment and appreciation that made watching CITIZEN KANE such a meaningful experience.
But no matter how great of a movie CITIZEN KANE really is, it can never live up to one's expectations. Although I do feel that it is deserving of its acclamation, the constant exposure to its six decades worth of hype and praise will invariably set most modern viewers' standards at a height that is virtually unreachable--even if it really *is* the best movie of all time.
565 of 766 people found this review helpful.
Was this review helpful to you?