It was important for me in the picture to tell the audience as effectively as possible what this really meant. Clearly it would be undramatic and disappointing if an arbitrary character in the story popped up with the information. The best solution was the sled itself. Now, how could this sled still exist since it was built in ? It was necessary that my character be a collector the kind of man who never throws anything away.
I wished the camera to show beautiful things, ugly things and useless things, too — indeed everything, which could stand for a public career and a private life. I wished objects of art, objects of sentiment, and just plain objects. Welles argued it was simply a name, long forgotten by the conscious mind, signifying a defining moment in Kane's life. He said : "My character had never made what is known as 'transference' from his mother. Hence his failure with his wives. In making this clear during the course of the picture, it was my attempt to lead the thoughts of my audience closer and closer to the solution of the enigma of his dying words.
In his subconscious it represented the simplicity, the comfort, above all the lack of responsibility in his home, and also it stood for his mother's love, which Kane never lost.
Mark Cousins shines new light on this 20th-century genius. Watch the storytelling films he made for the BBC in In Orson Welles staged an all black production. Simon Callow makes the case for Orson Welles. Amazing art to get you thinking about what is happening to the planet.
James Fox explores what ancient objects reveal about humankind. Celebrating the innovative, influential, world-conquering films of the Japanese director. Discover more about the life and work of James Baldwin. BBC Arts. Main content. However, Rosebud, the sled, was ultimately kept in the film as it made the plot easier for viewers to understand.
It will be interesting to see if Mank explores the conflict between Mankiwicz and Wells and answer once-and-for-all what Rosebud actually means. Connect with us. And other Mankiewicz mysteries Danielle Desouza September 7, Catch the Bullet Official Trailer. Perhaps it is the fault of Citizen Kane itself, that mysterious, almost Elizabethan fable of kingship, which so seductively posits the coexistence of greatness and failure. Martin Scorsese , in his brilliant commentary on the film, said that cinema normally generates empathy for its heroes, but the enigma of Kane frustrates this process.
It is the same with cinema: however immersive, however sensual, however stunningly effective at igniting almost childlike sympathy and love, cinema withholds the inner life of its human characters, while exposing the externals: the faces, the bodies, the buildings, the streetscapes, the sunsets. The story of Charles Foster Kane is a troubled one: the headstrong newspaper proprietor who makes a brilliant marriage to the niece of the US president and takes a principled democratic stand for the little guy against monopoly capitalism, but only to reinforce his own prerogatives, and only in an attempt to pre-empt the growth of trade unionism.
Diminished by the Wall Street crash and personal catastrophe, Kane becomes a pro-appeasement isolationist, complacently unconcerned about European fascism, though in his youth cheerfully willing to indulge the idea of a short circulation-boosting war with Spain. He dies in the present day, in — Citizen Kane was released seven months before Pearl Harbor. For any journalist, Citizen Kane is a glorious, subversive, pessimistic film.
We all know what newspaper journalists are supposed to be like in the movies: funny, smart, wisecracking, likable heroes. Journalists are nobodies. The person who counts is the owner. He had his wealth handed to him.
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