#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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.
Plot: Newspaper magnate, Charles Foster Kane is taken from his mother as a boy and made the ward of a rich industrialist. As a result, every well-meaning, tyrannical or self-destructive move he makes for the rest of his life appears in some way to be a reaction to that deeply wounding event.
Smart Tags: #newspaper_publisher #rosebud #new_york #narcissism #materialism #suicide_attempt #adultery #new_york_city #marriage #journalist #newspaper #death #story #mansion #shangri_la #soprano #sheet_music #sentimental_journey #storage #three_piece_suit #typewriter
|8.3/10 Votes: 407,017|
|8.1 Votes: 3720 Popularity: 20.932|
I fondly recollect, growing up in Canada in the 70’s and 80’s, my mom taking my older sister and I to the cinema (my dad was more interested in watching bowling, hockey, or either crime shows, British sitcoms or hockey on TV). Despite all of his TV appearances over the years, and films he acted in to fund his own productions, the first time I was aware of Orson Welles was one of those startling and bizarrely professional yet unmistakably charismatic ‘Paul Masson’ wine commercials that they tend to make fun of on The Simpsons in these decades gone by. My first thought was ‘that voice is amazing’, then ‘he looks like he’d be a fine grandfather or Santa Claus’, and I instantly wanted to know who he was: Just the way he carried himself, I knew he must be both brilliant and someone who was really important.
As you can tell, I’m not going to unnecessarily repeat all the endless accolades this film has gotten over the years. If you’re any type of film lover, you have either seen this or will eventually–unless you’re hit by a bus tomorrow (Heaven forbid) or something else drastic. It’s a hallmark of what is possible in cinema. I waited until I was 46 to see this, because of its stellar reputation. It’s not my favourite Welles–either acting or directing, and not by a long shot in either regard–but I’m very glad that I finally saw it, and I’ll probably revisit it every couple of years for the rest of my life. There’s just something really special about it that’s hardly ever seen any more–and I think of that just as wistfully as Charles Foster Kane did about his beloved ‘Rosebud’. That a 25-year-old could be so gleefully and breathtakingly experimental and innovative, yet still endlessly entertain, is nothing short of miraculous.
If you enjoy reading my Spoiler-Free reviews, please follow my blog @
The “greatest film of all-time”, everyone declares. I’ve been revisiting David Fincher’s career this last week since he’s in charge of directing the upcoming Mank, which premise approaches the story behind Citizen Kane’s screenplay credit controversy back in 1941. Herman J. Mankiewicz unquestionably helped Orson Welles writing the script for this movie, but if that contribution was enough to warrant his name on the film’s credits, well… Apparently, it was settled that Mankiewicz (known as Mank) did indeed deserve that recognition since I just had to write his name on the “written by” section above. Nevertheless, this review doesn’t concern that external issue, but yes, the most globally acclaimed movie in cinema’s history.
I always defend that someone’s opinion about a film is as valid as everyone else’s. Unless the arguments used are disrespectful, reductive comments such as the cliche “it’s just boring” or the externally influenced “I don’t like that actor in real life, hence the movie is awful”, I’m always ready to discuss a film with anyone who shows respect for the respective flick. There’s an interesting question people keep asking me: “should I watch this old movie that everyone talks about? It’s just that…” and usually they linger around here. Probably, afraid of saying something like “it’s still in black-and-white” or “its visuals are so old-fashioned”. This is a pretty common behavior in the entertainment realm that is film watching.
I always reply back with another question: “if you love movies, why wouldn’t you want to watch such a highly acclaimed film, no matter how old it is?” And, again, people hesitate because they’ve never asked themselves this. They’re afraid that their “discrimination” against old movies might affect their overall opinion about them, and then be in that complicated position that is being in a very small minority. If there’s something time didn’t change is that people still don’t know how to behave when they’re part of a little group with an unpopular opinion. Some follow the offense route, attacking anyone who disagrees with them. Others create conspiracy theories, saying that most people think otherwise because they followed the herd, not possessing a genuine, personal opinion.
If you love the art of filmmaking, if you enjoy going to the film theater, then watching older movies will only improve upon that passion. However, there’s a certain responsibility that the viewer should always have. As a spectator, we must always be able to place ourselves in the adequate period. We can’t watch a 1941’s film with the cultural, technological, social rules, and mentality of 2020. It would be extremely unfair to these movies since our enjoyment will be affected by modern political views, religious perspectives, and historical differences. We will look at a film like Citizen Kane, and deceivingly think: “I don’t see anything remotely new or innovative in any shape or form”.
This leads me to a suggestion I always give every movie lover like me. It doesn’t matter too much if you do this before or after the actual viewing of an “old film”, but do a quick research on its impact on filmmaking and our culture. Understand why or what makes the movie so special. Learn what to look out for when watching the film, and adjust your knowledge of everything to the year of release. Try imagining yourself as a person living in that year, leaving home to go to the closest movie theater, and sitting in your favorite spot to watch a new motion picture. If you’re able to do all of this, then there’s absolutely no way of not acknowledging the unprecedented, groundbreaking, historically impactful Citizen Kane.
Still to this day, film critics get that childish, ignorant judgment of “critics don’t know how to have fun, they only value artsy stuff that no one cares about”. I’m not going to enter a debate about this, otherwise, I’d have to write an essay, but I will address that last part. The “artsy stuff” is what movies are made of. Without the artists behind each technical component, we wouldn’t evolve to the point of getting the visually mind-blowing films we receive every month. Well, Citizen Kane impacted every single piece of cinema and shaped the filmmaking industry. People complain about directors not being able to share their original vision in 2020? Try making a movie 80 years ago, where studios were always responsible for the final cut.
Orson Welles changed that process, and much, much more. From the original marketing campaign (it was the first time a trailer didn’t contain a single shot from the actual film) to the inventive storytelling structure, there’s no denying that the groundbreaking technical aspects transformed filmmaking forever. At the time, ceilings weren’t shown, hand-held cameras were unheard of, the lighting had strict rules, and unconventional angles weren’t used. Gregg Toland’s cinematography changed all of that and tremendously influenced how movies are made today. His experimental methods gave rise to the imaginative use of “deep focus”, where the camera shows the foreground, background, and everything in between, all in sharp focus.
Toland was so crucial for the success of Citizen Kane that Welles decided to share the credits spotlight with him. Vernon L. Walker, as the VFX supervisor, employed techniques so impressive that just a few months ago, we had the famous Corridor Crew VFX team breakdown a particular sequence, and most of them didn’t know how Walker did it. The latter was a pioneer in shooting massive crowds and wide interior places. Robert Wise’s editing is the main component in the famous breakfast montage, by creating a sequence in the exact same location while the actors change their clothes and make-up between cuts, giving the feel of time passing by even though the set design is still the same
In every other technical component, innovation is the keyword. Bailey Fesler and James G. Stewart employed rarely used radio techniques to simulate crowd noise and singing. Bernard Herrmann composed an unconventional score due to its pauses and short bits of soundtrack, something utterly different from the typical non-stop music of Hollywood films. Finally, Mankiewicz and Welles’ screenplay. Its structure based on flashbacks and a nonlinear timeline was unique at the time. It’s probably why the movie doesn’t feel as old as other films when watching it today. Citizen Kane is decades ahead of its time, technically and story-wise. And its ending… still as powerful and jaw-dropping as in the first time I saw it.
It became the most influential movie in the history of cinema. It’s constantly at the top of many “best films of all-time” lists, and it’s still the number one movie for several critics. Orson Welles’ film is probably the movie with the most amount of hype one ever got, to the point of making people afraid of even saying that “it’s fine”, let alone dislike it. If you think Citizen Kane is a bit boring or that the actors aren’t that good or even if you weren’t surprised by anything… you’re far from being alone. People talk about this film like it’s a once-in-a-lifetime experience, a movie that will take people to Mars or to another galaxy. It’s understandable if many viewers simply don’t find any of the phenomenal qualities that everyone talks about.
The fact that most of the film is astonishingly innovative doesn’t take away the other fact that it’s still a movie from 1941. If it was released today (with all the natural modifications), most people would find it a very well-directed film, technically exceptional, and possessing a quite remarkable character-study. It doesn’t mean it has to resonate with everyone. There’s no movie in history loved or hated by everyone, and there will never be one. I don’t ask you to learn to love Citizen Kane. I ask you to comprehend its legacy, background, and undeniable impact on filmmaking and our culture. Almost every film we see on massive IMAXs today, we owe that to Orson Welles and his visionary production.
80 years after its release, Citizen Kane continues to be addressed by many as “the greatest movie ever made”. It became the most popular film of all-time, one that went through decades of in-depth essays. Everything that needed to be said about it has already been stated, recorded, and written. No movie warrants higher expectations from its viewers, but this massive hype makes it a dangerous film. People fear being judged for not understanding the worldwide acclaim or simply disliking it. Is it a tad boring? Are some actors flat? Is the story not as mesmerizing and memorable as you’d expect? Don’t be afraid to say “yes” because all of these opinions are entirely reasonable. None of this contradicts the indisputable influence it had on filmmaking and in the history of cinema. Everything about this movie’s production and origin, the precedent-setting technical aspects, and the innovative storytelling all prove that Orson Welles was a perfectionist filmmaker far ahead of its time. Is it the best film ever? That’s a never-ending debate I don’t wish to be a part of. But it’s undeniably one of the most magnificent masterpieces of cinema, one that every movie lover must watch.
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.
Rate According To Your True Feelings.
Yes, this title is a classic and we can all agree that it has been critically acclaimed by many to be a masterpiece. This movie pops up in so many lists of the greatest movies of all time that watching it at least once in your lifetime becomes a must. So I prepared myself for at the least a good movie. Is it a good movie? Well, yes and no.
See, it depends on why you are watching movies in the first place and where you derive pleasure from. For me watching movies is a way of entertainment and enjoyment, I want to have fun, I want to laugh, I want to cry, I want to think, I want to be engaged, I want to guess what is going to happen, I want characters that I can relate to and be attached to. Now all those things don’t mean that I want MINDLESS fun,I do prefer intelligent plot with great characters and development but I want the movie to incorporate entertainment value as well. Citizen Kane was a character study, it was like an assignment for my university where I had to critically evaluate the title to get a good grade.
Yes, cinematography was amazing and to think it was a movie from 1941 it is just jaw dropping. Yes, the character of Kane was complex and it was a good character study. Yes, the symbolic nature of “Rosebud” and what it represents was brilliantly done, especially when we see that Kane’s romantic life with his women was screwed up. But all those things are meaningless to me when I don’t enjoy the movie and I am ready to die from boredom. I literally forced myself to not fall asleep, all the time I was thinking “There must be something wrong with me, this is the greatest film of all time. Get your sh*t together, wake up and pay attention. This is awesome, right?”. At some points I even thought that I must be stupid for not liking this film, but if people choose to name me stupid I don’t care, at least I am honest with my feelings. What matters is that I consider myself to be fairly intelligent and I didn’t see the appeal of this movie unless you are watching this for critical purposes.
Now why this movie is in the top 250 and is considered a classic? That’s probably because of the technical aspects of the movie and in this sense it might be a masterpiece, but I just can’t see people enjoying this so much to have it so highly rated because of the entertainment factor.
Original Language en
Runtime 1 hr 59 min (119 min)
Genre Drama, Mystery
Director Orson Welles
Writer Herman J. Mankiewicz (original screen play), Orson Welles (original screen play)
Actors Joseph Cotten, Dorothy Comingore, Agnes Moorehead, Ruth Warrick
Awards Won 1 Oscar. Another 9 wins & 13 nominations.
Production Company Mercury Productions, RKO Radio Pictures Inc.
Sound Mix Mono (RCA Sound System)
Aspect Ratio 1.37 : 1
Camera Mitchell BNC, Cooke Speed Panchro and Astro-Berlin Pan Tachar Lenses
Film Length 3,271.72 m (13 reels)
Negative Format 35 mm (Eastman Plus-X 1231, Super-XX 1232)
Cinematographic Process Spherical
Printed Film Format 35 mm (Eastman 1301, 1302)