Citizen Kane
Directed by Orson Welles
Starring Orson Welles, Dorothy Comingore, Joseph Cotten
Running Time: 119 minutes
Citizen Kane is widely considered to be one of the greatest
films of all time. It is praised for many reasons, such
as the groundbreaking camera techniques, the narrative devices,
and the inspiration it had on other films. In this essay
I will discuss a few different directorial styles used in
the film, and will explain why they were effective and how
they contributed to the film's legendary status. Techniques
such as single source lighting, creative use of shadows
and light, door and window framing, and deep focus photography
made the film more interesting visually, but also contributed
to the narrative and many of the themes.
The most defining stylistic element of Citizen Kane is
the lighting. Welles meant for it to be a dark picture,
unlike anything that had been filmed up to that time, so
he used single source lighting. The object was to make the
lighting seem less artificial, but also to use simple lighting
devices in order to give the scene a certain ambience, and
in some instances to further develop the characters with
the use of shadows.
One example of single source lighting is when Thompson
is reading Mr. Thatcher's memoirs. The single light source
says a great deal about the scene as well as the characters.
First of all, it creates a sense of isolation, which seems
to accentuate Thompson's lonely quest. The way it lights
the room also says a great deal about Thatcher's personality,
especially by how it lights the large portrait of him, hanging
on the wall. Most importantly, the single light source highlights
Thompson's seclusion as he searches for clues.
Perhaps the most memorable use of a single light source
is the first scene following the News of the March, where
the reporters debate how they will add to the story. There
is a single, bright light source that comes from the window,
but is so miniscule that it covers most of the room in shadow.
As a result, the characters are indistinct, at best a silhouette.
This scene is effective because it sets the stage for the
rest of the film by establishing Welles' and Toland's unconventional
style. It also says a great deal about the reporters themselves.
They are not primary characters. Even Thompson -- who through
his pursuit of Rosebud is the catalyst for the rest film
-- is not important enough to light adequately. This is
restated by his not being photographed directly throughout
the rest of the film, until the very end when he essentially
gives up on his pursuit of Rosebud. The way this scene is
lit also says something about the filmmaker's view on members
of the media. In many ways, the film is a condemnation of
the media, with Hearst being its primary target. By casting
all of the reporters in shadow, Welles diminishes their
overall importance, not just as characters, but also as
an institution.
The reporter scene also happens to be the strongest use
of shadows and light, which is a more prevalent technique,
used throughout the film that says more about character
intentions and motivations. Shadow is used to express the
ethical value of a character; they cast doubt on a character's
integrity, or by the absence of shadow, display a character's
innocence or good intentions. As opposed to the lighting
of a scene, the use of shadow is more effective on a character
level rather than on a thematic level.
One of the most poignant uses of shadow is during the scene
where Kane reads the Inquirer's "declaration of principles".
He is cast in shadow only as he reads the declaration aloud,
and once he has finished reading he is cast back into light.
This scene says two things about Kane: regardless of whether
his idealism is genuine, Kane does not have a strong enough
character to persist with such principles. The shadow also
foreshadows how Kane and the Inquirer will become the antithesis
to this declaration.
Shadows are used to great effect during the confrontation
between Boss Gettys at Susan's apartment. There is one scene
in particular where Susan Alexander is standing between
Gettys and Kane. In this scene both men are cast completely
in shadow, whereas she is cast completely in light. This
signifies that both men are shady, maybe even evil, with
suspect motives. Susan, on the other hand, is the innocent
party in this quarrel. She is the victim of both men's ambition,
which has forced her between them.
Shadows are used later in the film in order to display
Kane's superiority over Susan. This takes place when she
finally loses control and lashes out at Kane after being
lambasted by Leland in the Enquirer. She tells Kane that
she wishes to quit, but he demands that she continue singing.
He stands above her and momentarily she is covered by his
shadow, suggesting his dominance over her. He intimidates
her, and she does continue with her career.
Welles also uses doors and windows to frame his characters.
Not only does this make many of the shots more interesting
to watch, but it also directs the viewer's eye, and places
emphasis on the character, or the element most crucial to
the scene. A good example of this is when Kane is finishing
Leland's editorial. Kane is covered in shadow, typing the
article on the left part of the screen, while Leland is
looking over his shoulder on the right part of the screen.
They are both evenly divided by a framing of Mr. Bernstein
in the background. This shot is one of the most spectacular
in the film. By framing Mr. Bernstein, the scene is practically
divided into three frames.
Another example of door framing is when Kane is playing
in the snow while Thatcher is inside negotiating the young
boy's future. We see Kane naturally at play outside in the
snow, oblivious to the events inside that will dictate how
the rest of his life will take place. His joy is a perfect
contrast to the tedious discussions inside, exactly the
sort of discussions that Kane will endure the rest of his
life.
There are two other noteworthy instances of door framing
towards the end of the film, both of which contribute to
the film's theme. First, Susan Alexander walks through several
doors when she finally departs Kane. She walks resolutely
through each door, without looking back, as Kane watches
from behind. This shot emphasizes the significance of her
leaving, as well as the emotional impact it has on him as
he watches her go. Second, there is the shot of Kane as
an old man, not long after Susan has left him. An ornate
doorway frames him and is reflected in a mirror. The mirror
causes the image to repeat infinitely. Deep focus is used
to enhance the repetition, which adds to Kane's loneliness
as an old man and to his isolation.
Deep focus was a cinematography technique used often in
Citizen Kane that showed every element of a particular shot
in perfect detail. Deep focus allowed the filmmakers to
place more details in a given scene and it also served as
a vehicle to allow them to be more experimental with shots.
The shot of Kane leaving and being reflected in the mirror
is a perfect example of how deep focus could impact a shot.
Another example of this is the shot after Susan Alexander
has already attempted suicide. When the shot begins, we
immediately know the situation. We see the empty bottle
of medicine, the glass, and the spoon, with Susan in bed
covered in shadow. We then see Kane break down the door,
exasperated, and we see that he recognizes the situation
immediately as well. Deep focus is also used during the
scene when Kane returns from Europe and is presented a trophy
cup. It is a technical marvel that we are able to read the
trophy cup, and still have every other element of the shot
viewable in perfect detail.
Another example of this is the shot after Susan Alexander
has already attempted suicide. When the shot begins, we
immediately know the situation. We see the empty bottle
of medicine, the glass, and the spoon, with Susan in bed
covered in shadow. We then see Kane break down the door,
exasperated, and we see that he recognizes the situation
immediately as well. Deep focus is also used during the
scene when Kane returns from Europe and is presented a trophy
cup. It is a technical marvel that we are able to read the
trophy cup, and still have every other element of the shot
viewable in perfect detail.
Citizen Kane is still respected and admired because of
the groundbreaking cinematic techniques that are just as
inspirational to filmmakers today as they were fifty years
ago. Single source lighting and creative use of shadows
and light inspired an entire genre of films called noir.
Framing with doors, windows, or other set elements is a
common directorial style today. Deep focus is seldom used
in film these days, because it was primarily a device for
black and white film, but Toland's work still has plenty
of influence on modern cinematography. The technical and
stylistic innovations of Citizen Kane changed films forever.