Após a morte de um magnata na indústria editorial, jornalistas correm para descobrir o significado da última palavra que ele pronunciou.Após a morte de um magnata na indústria editorial, jornalistas correm para descobrir o significado da última palavra que ele pronunciou.Após a morte de um magnata na indústria editorial, jornalistas correm para descobrir o significado da última palavra que ele pronunciou.
- Ganhou 1 Oscar
- 11 vitórias e 13 indicações no total
Enredo
Você sabia?
- CuriosidadesDespite all the publicity, the film was a box-office flop and was quickly consigned to the RKO vaults. At the 1941 Academy Awards, the film was booed every time one of its nine nominations was announced. It was only re-released to the public in the mid-1950s.
- Erros de gravaçãoDuring the picnic scene towards the end, Welles had to shoot against a back-projection because a location shoot was too costly and time-consuming. The stock footage used for the exterior was taken from King Kong (1933), hence on closer inspection the four birds that fly by are in fact very definite pterodactyls. RKO told Welles to take the pterodactyls out of the shot, but he liked them, and decided to keep them.
- Citações
Mr. Bernstein: Old age. It's the only disease, Mr. Thompson, that you don't look forward to being cured of.
- Cenas durante ou pós-créditosIn a very rare move the director's credit is shown on the same card as the cinematographer's. This was Orson Welles's personal decision to show his thanks to cinematographer Gregg Toland for his enormous contributions to the film, meaning equal rights.
- Versões alternativasThe Italian-language version cut an overwhelming number of scenes, leading to "complete" versions of the film to be circa half of the time in English and only the remaining half in Italian.
- ConexõesFeatured in The Projectionist (1970)
- Trilhas sonorasIt Can't Be Love
(uncredited)
Written by Charlie Barnet and Haven Johnson
Arranged by The King Cole Trio
Performed by Raymond Tate, Buddy Collette, Buddy Banks, CeePee Johnson, and Alton Redd
Avaliação em destaque
All That Ballyhoo!
On the Criterion Collection DVD of Orson Welles' classic "Citizen Kane" there is an original theatrical trailer where Welles cleverly advertises the film by introducing us to the cast including the chorus girls, whom he refers to as some nice ballyhoo. That pretty much sums up my opinion of the often over analyzed film that always shows up at the top of the list of greatest films ever made. Even though this was the first time I sat down to watch the film as a whole, I knew everything about it from studying it in film class and from the countless number of essays, homages, and parodies that have come down the pike over the years. It seems impossible now to judge the film against a blank slate, but with great ballyhoo comes great scrutiny.
Released in 1941 by RKO as a Mercury Theater Production, "Citizen Kane" is the tale of an influential and shockingly wealthy newspaper tycoon (Welles) inspired by the life of William Randolph Hearst. The story follows the investigation into the origins of "Rosebud"-the mysterious word Kane utters on his deathbed. Following newsreel footage announcing Kane's death, we are then thrust into a series of flashbacks through interviews with various people who knew Kane that reveal the nature of his character.
From a technical standpoint, Welles' film is as innovative and engrossing today as it was yesterday. Every single piece of cinematic trickery, every dissolve, every long tracking shot, every seamless edit, every play with chronology, every special effect is perfect. Welles was audacious and inventive with his art, and it is for these technical aspects that "Citizen Kane" will always stand the test of time.
However, the story of "Citizen Kane" remains cold and distant. I didn't instantly connect with the characters and the plot the way I did with other classics from the period like "Casablanca" or "The Third Man" or even more recently, "There Will Be Blood." Often, the supporting players over-act, and the flashbacks are tedious (especially the one detailing Kane's second marriage) or emotionless (like the scene showing Kane's snow covered childhood). There's a certain smug arrogance to the whole production that makes it seem like perhaps Welles was secretly making a comedy. It leaves one wondering how it would've come across had Welles actually been allowed to do a straight up biopic of Hearst.
Is it any wonder that so many critics today hail this as THE all time great? Much of today's cinema is geared towards style and technique over substance, and way back in 1941, Welles was the first to author this very modern brand of cinema where the art is not in the story but how it is told and shown to the audience. His "Citizen Kane" is technically rich, layered, and enthralling but narratively vapid. Did I ever really care about Kane or Rosebud? No, but it was fascinating to watch. It's some very nice ballyhoo indeed.
Released in 1941 by RKO as a Mercury Theater Production, "Citizen Kane" is the tale of an influential and shockingly wealthy newspaper tycoon (Welles) inspired by the life of William Randolph Hearst. The story follows the investigation into the origins of "Rosebud"-the mysterious word Kane utters on his deathbed. Following newsreel footage announcing Kane's death, we are then thrust into a series of flashbacks through interviews with various people who knew Kane that reveal the nature of his character.
From a technical standpoint, Welles' film is as innovative and engrossing today as it was yesterday. Every single piece of cinematic trickery, every dissolve, every long tracking shot, every seamless edit, every play with chronology, every special effect is perfect. Welles was audacious and inventive with his art, and it is for these technical aspects that "Citizen Kane" will always stand the test of time.
However, the story of "Citizen Kane" remains cold and distant. I didn't instantly connect with the characters and the plot the way I did with other classics from the period like "Casablanca" or "The Third Man" or even more recently, "There Will Be Blood." Often, the supporting players over-act, and the flashbacks are tedious (especially the one detailing Kane's second marriage) or emotionless (like the scene showing Kane's snow covered childhood). There's a certain smug arrogance to the whole production that makes it seem like perhaps Welles was secretly making a comedy. It leaves one wondering how it would've come across had Welles actually been allowed to do a straight up biopic of Hearst.
Is it any wonder that so many critics today hail this as THE all time great? Much of today's cinema is geared towards style and technique over substance, and way back in 1941, Welles was the first to author this very modern brand of cinema where the art is not in the story but how it is told and shown to the audience. His "Citizen Kane" is technically rich, layered, and enthralling but narratively vapid. Did I ever really care about Kane or Rosebud? No, but it was fascinating to watch. It's some very nice ballyhoo indeed.
útil•8631
- WriterDave
- 5 de mai. de 2008
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Detalhes
- Data de lançamento
- País de origem
- Central de atendimento oficial
- Idiomas
- Também conhecido como
- Citizen Kane
- Locações de filme
- Busch Gardens - S. Grove Avenue, Pasadena, Califórnia, EUA(Xanadu Grounds, demolished)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 839.727 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 1.627.530
- Faturamento bruto mundial
- US$ 1.702.325
- Tempo de duração1 hora 59 minutos
- Cor
- Proporção
- 1.37 : 1
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