More than just a chilling tale...(The Composition of a Masterpiece)

Rating: 10/10 (7 October 1998)

The genius of this film is often only felt by the audience from the more external understanding of the mere sequence of events that take place. Now, that's an aspect of the film worthy of praise, as Kane *did* win Best Screenplay in 1941, and the script is, indeed extremely tight. (Does anyone else marvel at the line "New York, Chicago, and Washington, maybe?" uttered by Jim Kane towards the beginning? You of course realize this maps out Kane's entire life...New York Enquirer, Chicago Opera House, and a failed political career? Not bad, eh?) But the more subtle genius of the film is it's use of triangular construction and frame composition. Oh, my gushing is taking up too much space. But, my god, the use of shadows and angles should be paid attention to! The way the aural ambience of each scene differs and morphs echoes Welles' radio background, and should be paid attention to! He used processed backgrounds for *In-Room* shots, just to pack in the right amount of information, and frame it up how it wanted. He shoots the speakers in shadowed obscurity and has them come into the light right on the key line. The cockatoo that begins the Butler's account of Susan leaving him is purely expressionist film-making! The form cuts that make the film's skewed chronology move along seamlessly! Oh, for god sakes, watch the man work, people. This is how it's done.