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.... The tragic story is how a millionaire newspaperman, who idealistically made his reputation as the champion of the underprivileged, becomes corrupted by a lust for wealth, power and immortality. Kane's tragedy lies in his inability to experience any real emotion in his human relationships. The apparent intellectual superficiality of Citizen Kane can be traced to the shallow quality of Kane himself. Even when Kane is seen as a crusading journalist battling for the lower classes, overtones of self-idolatry mar his actions. His clever ironies are more those of the exhibitionist than the crusader. His second wife complains that Kane never gave her anything that was part of him, only material possessions that he might give a dog. His best friend, Jedediah Leland, was a detached observer functioning as a sublimated conscience remarks to the reporter that Kane never gave anything away: he left you a tip. In each case, Kane's character is described in materialistic terms. What Kane wanted - love, emotional loyalty, the unspoiled world of his boyhood, symbolized by rosebud, he was unable to provide for those around him, or buy for himself. The intriguing opening is filled with hypnotic dissolves from one sinister, mysterious image to the next, moving forward closer and closer. The film's first sight is a No Trespassing sign hanging on a giant gate in the night's foggy mist, illuminated by the moonlight. The camera pans up the chain-link mesh gate, which dissolves and changes into images of great iron flowers or oak leaves on the heavy gate. On the crest of the gate is a single, silhouetted, wrought iron K initial. The gate surrounds a distant, forbidding-looking castle with towers. The fairy-tale castle is situated on a man-made mountain, obviously the estate of a wealthy man. The same shots are repeated in reverse at the very end of the film. The initial and concluding clash of realism and expressionism suggests in a subtle way, the theme of Citizen Kane. The intense material reality of the fence dissolves into the fantastic unreality of the castle, and in the end, the mystic pretension of the castle dissolves into the mundane substance of the fence. Matter has come full circle from its original quality to the grotesque baroque of its excess. As each ...