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 mentally unstable Vietnam War veteran works as a night-time taxi driver in New York City where the perceived decadence and sleaze feeds his urge for violent action, attempting to save a preadolescent prostitute in the process.
Robert De Niro,
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
When Kane's mother, father and Thatcher walk from the living room into the kitchen, they sit down at a table. For a second, you can see Thatcher's hat jiggle a few inches and then be still again. This is mainly because the camera had to move through the table to do the shot. When the camera went into the kitchen, the table split in two, and then reassembled itself just in time for Agnes Moorehead to sit down in the chair. See more »
In the newsreel, the announcer states how a defaulting boarder had left the deed to a supposedly worthless mine (the Colorado Lode) to Mary Kane in 1868, then begins his next sentence, "Fifty-seven years later, before a Congressional committee," as the film cuts to an old newsreel of Thatcher testifying before the committee. Fifty-seven years after 1868 would be 1925. As "talking" pictures were at best still in the experimental stage and in any case not in use in 1925, it would not be realistic that the newsreel of Thatcher testifying before Congress would have sound. Similarly, the sequence immediately following Thatcher's testimony, stated by the announcer as "that same month in Union Square", depicting the radical speaker denouncing Kane, would also not have had sound. See more »
What do you say about a movie more analysed than is enjoyed, more envied and despised than any other piece of cinema: well documented for its perceived portrayal of William Randolph Hearst, and his efforts to have it destroyed....It has survived and now stands at number one on the AFI's top 100 list, for a movie that didn't even win the Oscar for its year of release.
What can you say about the cinematography and direction and acting, that hasn't already been said? The lighting, the camera angles, the new visual techniques and trick photography used for the first time in an American movie to great effect. Special mention has to go to the acting of a 25 year old Orson Welles, an aspect the least highlighted.
The grand-daddy of the American Soap Opera, it tells the life of Charles Foster Kane, from his humble beginnings, his mother's giving him up to a wealthy guardian, and his building of a newspaper/radio empire. It sees Kane go from an idealistic journalist to a powerful mogul able to manipulate history through his media empire.
Despite all his money and power, Kane is not immune to the hand of destiny, and oh how she slaps Kane the old American way. A married Kane is caught through pure "innocence" with a "singer" and a scandal erupts, costing Kane the state governorship; you can guess the instigator of the scandal-mongering: the incumbent governor.
In the first part of the movie, we see a Kane adored by the public and employees but we don't see the reason why his relationship with his wife deteriorated, shown in a powerful film sequence of spouses drifting apart through the years. In the second part we see his relationship with the "singer" whom he took as his second wife, and how he uses her to try and manipulate public opinion of himself, just as he had used the media empire previously. The only problem is that his second wife isn't as competent as the media empire was in gaining respect or adoration; she is just terrible as an opera singer. But Kane wants to prove to the public that the "singer" who he was caught with, was more than "whore" and that he had the power to shape public opinion; she even told kane that she didn't want to be a singer. It is the cruelest thing any man could have done to another human being; manipulated for his own ends. William Randolph Hearst was said to have been less angry about his own portrayal than that of his mistress, Marion Davies.
The movie broke new grounds for cinema also, in its story-telling: we see first the death of a recluse Kane in his old age, and then there are flashbacks from newsreels and investigations and interviews of reporters piecing together the life of Charles Foster Kane and his dying word "rosebud".
The reporters never found out what his dying word meant, but the audience is shown what it "is". No single word can describe a man's life after all, so what does it mean??? lost childhood innocence and happiness??
This movie bred a bunch of copycats like "The Carpetbaggers" and "Valley of the Dolls", and inspired the great TV soapies like Dallas and Dynasty. Many other movies from different genres have copied and perhpas bettered the camera work and lighting and yet this movie has stood up well through the 60 years from its sheer brilliance and originality.
Despite its greatness, Citizen Kane seems to have taken some victims along the way. At age 25, Orson Welles starred, wrote and directed his masterpiece, but because of various reasons, political, envy, hatred, he was never able to match it. The other victim seems to have been Dorothy Comingore as Susan Alexander, mirroring the career of Marilyn Monroe who came after her.
A great movie thats stood the test of time. See it for what it is: a fantastic piece of story-telling firstly, only then can you see its greatness.
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