Citizen Kane" is known for creating many new filmmaking techniques, and has been hailed as one of the greatest films ever made. "Roaring Twenties" is known as one of the best gangster films ever made and director Walsh is often heralded for his dramatic, memorable gun scenes, where the action is extremely fast, the camera stays with the action, and it is so fast and furious that the audience is literally drawn into the film. The depth-of-field or focus of both films comes into play in the overall success of the films, in that in "Citizen Kane," they show the grandeur of Kane's mansion, and the violence of the gunplay in the gangsters' world. Dutch-angled scenes in "Twenties" indicate the very canted world of the 20s gangsters, and even though Eddie becomes successful, it is clear he is a world away from the opulence, excess, and power of the mighty Charles Foster Kane.
Also of supreme importance in Kane is the opulence of the set, the hair, make-up and costuming, to indicate Kane's immense wealth and power. Eddie becomes successful, but never to the point of over the top opulence, and the Great Depression affects both men, but Eddie can never recover. The difference between the two men, even at their most powerful, is all about money, and that is evident when Kane builds an entire theater to showcase his wife, while Eddie opens a speakeasy to showcase Jean's budding career. The sets, hair, make-up and costuming all show the two different levels of success of these men, and add dramatically to the overall impact of the films.
There is another thing in common these two characters share. They both "fall" for the wrong women, and die alone in the end. Eddie always holds a place in his heart for Jean, and tries to promote her career, even though she never loves him the way he loves her, and ignores the fact that Panama adores him. Kane falls for the singer Susan, builds her an opera house, where she fails miserably and leaves him. Their weakness, it seems, is beautiful women with little talent, and they both...
Citizen Kane Many people consider Citizen Kane to be one of the greatest films ever made. Orson Wells was age 25 when he directed, produced, and starred in this film. There are many particular aspects to Citizen Kane is a memorable film. One of the primary reasons the film was a success is that it focused on a controversial topic. The fictional life of William Randolph Hearst, a powerful newspaper publisher,
Citizen Kane is one of the most influential films in Hollywood history. Director Orson Welles used many camera, lighting, and musical techniques that seem quite common now, but were quite revolutionary when the film was made in 1941. For example, throughout the film, the music clearly follows the mood of the film, from striking march during the newsreel scenes to somber and even dirge-like in the opening and death scenes.
Orson Welles' Film Citizen Kane (1941) on Expression in Film; the Film Industry; and on the Theory of Director as "Auteur" The expressive meaning of the cinematic masterpiece Citizen Kane, directed by Orson Welles in 1941, cannot be summed up succinctly. Within Citizen Kane, everything is significant; not a single frame is wasted or extraneous. Each separate portion of the film contributes to its overall impact as one of the
Those two instances music was used to tell the story vs. simply dialog. The film is filled with Capra quips, parts of business, and artistic tropes such as the invisible baseball game Willoughby performs when discussing fixing up his arm. Norton constantly cleaning his glasses and a duet between John and his fellow tramp the Colonel with the harmonica and ocarina are just some of the memorable and charming scenes
Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson) -- whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilder's acidic Double Indemnity
Scorsese equates him with "a magician enchanted by his own magic." This freedom allowed Welles to create from narrative techniques and filmic devices a masterpiece that is self-aware of its own form. It intends to communicate this self-consciousness to the audience, thus contradicting the classical canons of filmmaking whereby the camera ought not to be noticed and the shots should be seamless. In other words, Welles expanded the art
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