A Rosebud by any other name

Rating: 10/10 (2 May 2010)

After almost 70 years, only 38 of them during my lifetime, I decided to watch and review the legendary Citizen Kane. Orson Welles directed this classic in 1941 starring himself in the lead role of Charles Foster Kane. The film began with Kane's death in the palatial Zanadu estate he had created for himself. The final word in his last breath "Rosebud" would become the catalyst for the story line going back through Kane's life to determine the significance of the word and some purpose to how he lived his life.
In the early 1940's the world was coming out of a brutal war and still recovering from the depression. The story, when taken in this context is telling the story that wealth and financial extravagance does not equal fulfillment. Kane's influence and financial status could not gain him the one thing he lost as a child; love and acceptance. Agnes Moorehead portrayed Mary Kane, Charles mother, who gave her son to the care of a Financial Adviser, Walter Thatcher (George Coulouris) who would also oversee Kane's trust. Charles Kane being plucked from his simple childhood and placed into the care of a person who considered him a commodity produces a theme of a rich child trying to right the world and gain love. In the era this movie was produced, the concept of gaining great wealth, especially as a child, would have seemed quite incredible. The fallen child star stories were not publicized at that time so the idea that wealth and influence can scar a person at that early age would not have been as prevalent. Welles took this theme and created a concept that simple family life with the love and attention of those closest was the best way to provide fulfillment to a child.
Much in the same way that modern day superhero stories like Ironman and Batman portray people of great wealth and influence trying to right the wrongs in the world, Kane tries to use his wealth, newspaper, and political savvy to change the world. Unfortunately, he does this from a skewed perspective and does not turn the reflection on himself and the choices he made in relationships and in business. Kane's marriage to Susan Alexander (Dorothy Comingore) underscored the concept that money could build relationships and gain him companionship. He purchased singing lessons, promoted her singing abilities, and even build an opera house for her to perform. Still, his search for love failed as he tried to buy her affections. In the end, when she did leave him, it broke him and seemed to make him realize that the one thing he longed for was kept out of reach simply because he didn't know how to love.
When looking at the era, the message for me seemed to take on a new meaning. Today, the theme doesn't seem terribly unique and the grandeur of the sets is not to be compared to current day CGI. Still, there is a haunting message that has resonated due to Welles' telling of the story. The careful placement of mirrors when Kane is walking through Zanadu and harsh lighting techniques utilized as he nears the end of his life, give perspective to what Welles was trying to say all along, that money can't buy love. As I watched this movie, the beautiful direction and cinematography really moved me as an artist. I not only understood what Welles was trying to say but could appreciate the careful and intricate way he said it.