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Newspaper Article
Charles Foster Kane is back on the screen
1991
Overview
[Orson Welles] was 25 when he made \"Citizen Kane.\" His astonishing vigor remains fixed in every frame. It is there in the screenplay by Herman J. Mankiewicz and Welles, in the nervy way they take on the legend of [William Randolph Hearst], the publishing giant who was very much alive at the time, in a narrative that leaps forward, curls back and around, then leaps forward again. [Gregg Toland] had already shot deep-focus scenes for \"The Long Voyage Home\" (1940) and would do so again for \"The Little Foxes\" (1941) and \"The Best Years of Our Lives\" (1946). Stanley Cortez's deep-focus work in Welles's great if mutilated \"Magnificent Ambersons\" (1942) is even more spectacular than Toland's for \"Citizen Kane.\" From beginning to end, \"Citizen Kane\" proclaims its impatience with the way movies had come to look and sound at the time Welles moved from New York and Hollywood. Welles originally planned to adapt Joseph Conrad's \"Heart of Darkness\" as his first film. When that project proved too expensive, he settled on \"Citizen Kane,\" which is not exactly \"Heart of Darkness\" but possibly more congenial movie material.
Publisher
GateHouse Media, Inc
