🎦 Citizen Kane full movie HD download (Orson Welles) - Drama, Mystery. 🎬
Citizen Kane
Drama, Mystery
IMDB rating:
Orson Welles
Joseph Cotten as Jedediah Leland
Dorothy Comingore as Susan Alexander Kane
Agnes Moorehead as Mary Kane
Ruth Warrick as Emily Monroe Norton Kane
Ray Collins as James W. Gettys
Erskine Sanford as Herbert Carter
Everett Sloane as Mr. Bernstein
William Alland as Jerry Thompson
Paul Stewart as Raymond
George Coulouris as Walter Parks Thatcher
Fortunio Bonanova as Signor Matiste
Gus Schilling as The Headwaiter
Philip Van Zandt as Mr. Rawlston
Georgia Backus as Bertha Anderson
Storyline: A group of reporters are trying to decipher the last word ever spoken by Charles Foster Kane, the millionaire newspaper tycoon: "Rosebud." The film begins with a news reel detailing Kane's life for the masses, and then from there, we are shown flashbacks from Kane's life. As the reporters investigate further, the viewers see a display of a fascinating man's rise to fame, and how he eventually fell off the top of the world.
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the studio process at its very best
I think that the making of a movie is truly a collaborative process, thus the films of the studio era are without doubt the most fascinating and inventive to date. This does not mean that an independent film cannot be a good movie, it just doesn't have the expertise and resources behind it to make it a truly great movie like Citizen Kane. It also doesn't mean that the big bygone studios didn't turn out their fair share of clunkers, but in my mind, to find the best movies of the last century you have to look to the big studios.

As to Citizen Kane in particular, it is always fascinating to watch. Unfortunately when we think of special effects these days, it's with action films of dubious quality, but Citizen Kane probably used more and to better advantage.The innovations, such as deep focus, sets with ceilings, the mixture of newsreel footage(both real and staged),the effect of overlapping dialogue are amazing. And to think that this was at a time when sound movies were only about a decade old and the movies themselves weren't even a half century old. It's amusing to think that when these techniques were used to create a realism unseen in films up to that time, the audiences were put off, since it was so different than anything else they had seen and they thought it looked phony!

I recently heard a comment from Richard Chow(the editor from Star Wars) on TV that he is still learning things from Citizen Kane, and its great cinematographer Greg Toland, decades later.

So in conclusion to me Citizen Kane stands head and shoulders above any movie before or since.
Has a film ever been more praised and loved by film critics than Citizen Kane?
Has a film ever been more praised and loved by film critics than Citizen Kane? Some people will say The Godfather or Casablanca hold that title, but I think it's Citizen Kane. The praise is certainly deserved, because this is certainly is one of the greatest motion pictures of all-time. Much more fascinating is the fact that it was almost never released and close to be destroyed. Welles had already created controversy with his "War of the Worlds" broadcast that shocked America, but that was nothing compared to what erupt thanks to Citizen Kane. Newspaper tycoon William Randolph Hearst believed that the film painted an unflattering image of him and was determined to bury the film, along with Welles. Due to Hearst's power of the press and radio waves, the film was barely advertised and flopped on its initial release. It would also lose the Best Picture Oscar to John Ford's sentimental How Green Was My Valley (considered by many to be the Academy's biggest mistake ever). Kane would disappear and only after both the careers of Hearst and Welles fell did it start to gain an audience upon numerous re-releases from the 1950's onward. It was praised by critics as a masterpiece and Welles was put alongside Chaplin and Ford as one of cinema's greatest artists. More and more acclaim is given to Citizen Kane each day and rightfully so.

Millionaire tycoon Charles Foster Kane (Orson Welles) dies one night in his bed at his giant castle, Xanadu with his very last word, "Rosebud." A reporter (William Alland) working on a news reel about Kane is soon asked by his boss to investigate the importance of the word. So, he begins to interview previous colleagues of the newspaper runner, which leads to various flashbacks of his life. After his mother becomes rich, she sends Charles away with a bank owner and he soon grows into a prosperous man, who decides that "it would be fun to run a newspaper." He gains control of The Inquirer, which soon blossoms into a major enterprise. He soon marries the president's daughter and runs for senator. After that breaks off, he meets a young woman who he wants to become a successful singer, but she is not able to hold a tune. Yet, through all of this, does the reporter ever find out what "Rosebud" means?

Citizen Kane has been looked into and analysed by many critics (including one providing a commentary for the DVD) and almost everybody has a different interpretation. I, for one, view it as a story of a man who despite gaining a lot of money, never really became happy and that one word is Kane realising that his death is probably the best thing to have ever happened to him. Kane becomes so insanely wealthy and successful, that he forgets what life is all about, which explains why he just melts away in Xanadu for all the years after his second wife's divorce. Kane may not be the kindest gentleman, but he certainly is fascinating, which is probably what adds to the everlasting appeal of Citizen Kane. Orson Welles set out to tell the story of one man and made a masterpiece and a classic motion picture history. His performance, direction and screenplay are all perfect in every way. His supporting players, which he brought to Hollywood with him from the Mercury Theatre are all impressive as well. Gregg Toland, the cinematographer, also deserves heaps of praise for his brilliant camera work and lighting effects.
Don't see it before you mature
I was wrong in seeing the film for the first time as a teenager (14-15). I wasn't mature enough to grasp the meaning of the movie and the entire plot. Because of that first view, I've been under the impression that the film is strange and alienated.

Yesterday I decided that it deserves a second view, now that I'm a little bit older (22) and have seen more than enough films, compared to when I was younger.

I just finished watching it and it left me with teary eyes and a lump in my throat. I was moved - and didn't even see it coming.

When I first saw the film I couldn't relate to Charles Foster Kane, and it wrecked the film for me - until I decided to watch it again.

In my opinion, the early and final years of Charles are those that make the film get under your skin and into your heart.
Quite frankly the most intelligent film ever made
Citizen Kane is a marvelous piece of cinema. It transcends all efforts made before and after it. What we have here truly is the great American film. The black and white cinematography is to die for. Kane is by far the most visually appealing film ever made. I find something new in it's shadows with each viewing and it takes a really great film to offer that to a viewer. American movie making really owes it all to Kane. It really is the only film I can think of that fails to break into a sense of monotony.

And of course Welles' performance must be praised. Here we have a twenty six year old man fresh off of a lucrative stage career make a seamless transition into film. To see Charles Foster Kane is to see the perfection of characterization. There are no loose ends with this character he is wrapped perfectly. Of course he is a metaphor for the joys and evils of capitalism. We must ask and why did he become what he did? The great thing about Kane is that it still proposes questions that require answers.how

In each viewing of Kane I just think to myself what bias cinema come to? There was a time when motion picture making was a challenge and it meant something. Kane should be studied because it is a perfect film. It gives the viewer something to think about and yet offers dynamic characters. And to think the lobotomized masses of American cinema goers would rather be watching a Transformers film. Now there's a series I would care to forget about. I mean what kind of movie has stupid robots? And that isn't even the problem with those poor excuses for celluloid. Each film in that series is a blood curdling experience. I absolutely hate the parent characters and Shia whatever his name is. The racial stereotypes are offensive and the idea of a Transformer heaven where Shia goes to in the first sequel is beyond ridiculous. I mean come on! And what about that stupid government organization? Really? You expect me to believe that they were able to keep a giant robot within the Hoover dam without nobody knowing about it? Or how about the fact that they actually had the transformer ship crash into the moon? You might infer that some telescope would catch wind of it. And the actor they got to play John Kennedy in the beginning of the film was doing the worst stereotypical Massachusetts accent ever. Transformers is dumbing down America pure and simple. All it exists to do is sell toys to idiot kids. Michael Bay makes millions of dollars while Orson Welles was abandoned by the Hollywood system. Really! It infuriates me.
surprised and disappointed
If you consider just the content, then all this movie does is make the following point: Charles Foster Kane wanted to be big and important to all American people, however he had nothing to give, he just had a lot of money. I should rather say that the movie hammers this point home, since the above point is stated explicitly by Kane's best friend and by his second wife (and probably one other person, I didn't want to take the time to check). Just in case you wouldn't get the message.

This movie is in my opinion crude and simplistic. We are dragged through the life of Kane at high speed. The movie doesn't flow naturally, there is no real development. It feels like nothing happens, you just get a single idea pushed down your throat. Throughout the movie there is the same atmosphere of doom and of emptiness. Even as a young man Kane is not an idealist. None of the characters is given any depth, there is no one you can identify yourself with or sympathise with.

The only quality of the movie lies in the camera work, the tricks with the lighting and the music. This should make it interesting for movie directors and people interested in the technical side of film making. I suppose it's is interesting to see how Welles manages to create a certain atmosphere in this way, but since it is always the same atmosphere, this is in my opinion rather limited.

I cannot possibly understand why this is considered the best movie ever made. The only (unsatisfactory) possible explanation I could come up with was: a) The average person is far more visual than me, or easier satisfied with single impressions, b) People like to parrot the "experts".
Why don't they make films like this any more?
I recently watched the Oscars, and my mom also told me how it was one of the worst audiences, like it was the 2nd least watched Oscars of this history of the awards. We were talking about what could be the possible problems, in my opinion, the movies that are nominated, people really haven't either heard of or didn't enjoy that much. But in general, movies just don't have the same magic they used too.

Watching Citizen Kane for the first time was a relief for me because I almost forgot that there were terrific movies out there. Citizen Kane is a brilliantly made political drama with terrific acting and excellent cinematography. I almost forgot how amazing the classics can be. I think my favorite part about this film is just how the people never figured out what Kane's last word was before he passed, "Rosebud", meant. I felt like some things should just be left in peace and you'll always have at least one piece of the puzzle missing.

What a terrific and perfect movie that should be watched by all. To those who feel the same way about cinema recently, take a chance to watch one of the classics. I think that's the only way we can just get a good view on Hollywood once again.

The Distinguished Citizen ...
There is a telling moment in CITIZEN KANE that quietly reveals a lot about what makes the film great. It is a scene set in the dark days of the Great Depression, where Kane is turning over much of his empire to his arch-nemesis, Thatcher. As they talk, Kane casually walks away from the camera and we suddenly discover that the room the men are in is an illusion. The background wall that looks to be right behind the them is actually twenty or thirty feet away, the window sill isn't at waist height, but actually is over Kane's head. The room is huge and Kane is dwarfed by his surroundings. Kane than walks back toward the camera and perspective again creates an illusionary intimate image.

It is a neat camera trick and KANE is full of neat camera tricks. It discretely plays with our perception of reality, just as the story does. Through out, Charles Foster Kane is at a distance and slightly out of focus and then he is up close and personal; he is larger than life and suddenly small and petty; he is always at the center of the picture, yet concedes the foreground to the various witnesses who tell his story. CITIZEN KANE is a treasure chest of cinematic gadgets and gizmos; yet as deliciously stylized as KANE is, the style meshes perfectly with the content. CITIZEN KANE is a story of illusions and perceptions told through illusions and perceptions.

Before KANE, and for the most part afterward, no film has quite taken hold of the medium of film and done so much with it. Other directors have tried to dazzle us with how cleverly stylish they can make their films, but usually the effect is self-consciously arty: Every rabbit pulled out of a hat is greeted with a drum roll and a fanfare. The beauty of KANE and the reason director Orson Welles remains an artist of awed respect, arise from the casual grace with which he performed his magic tricks. His rabbits are in themselves so fascinating that how he produces them is only of secondary interest. Yet for a film obsessed with stylistic trickery, CITIZEN KANE still manages to be an incredibly personal story.

To say a film is efficient may seem like a backhanded compliment, but part of the wonder of KANE is that it tells so much story and covers so much territory on a B-movie budget. It is an epic created on sound stages and with editorial mosaics. Welles begins his film with a mock newsreel obituary announcing Kane's passing, then basically repeats aspects of that same story several times over from different perspectives, maintaining a vague chronology, but jumping around in time to let us know that there is more to a life than the mere passage of time. Welles tells us who Kane was to the world, then who he was to the people who actually knew him -- suggesting that who we are is defined not by what we have done but by who we have touched. It is one of the most effective and insightful film biographies that was ever made. The fact that it is a biography of a fictional character is totally irrelevant.

The essence of CITIZEN KANE is the fable of the blind men and the elephant. Like the blind men, who, upon examining only a part of the beast, assume that the elephant is a rope (the tail), a tree (a leg), a sword (a tusk), etc., the witnesses to Kane's life see him as a spoiled child, an idealist, a hypocrite, a monster and so on and so forth. All are correct, yet all are wrong, only seeing in Kane what they want to see. We never meet Kane the man, only Kane the illusion, yet we end up with a vague grasp of who he must have been. If CITIZEN KANE offers any universal truth it is that a life -- or a movie -- is more than the sum of the parts.

Even given all the well-deserved praise proffered to Welles as a director, he never seems to get his due as an actor. His embodiment of Charles Foster Kane is, simply put, one of the great screen performances of all time. We remember that KANE saw Welles as a first time director, but it was also his first time on screen professionally and he gives a performance that is both self-assured and subtle, bold and bemused. Taking Kane from his twenties to his sunset years without a false note, giving a performance that combines gentle humor with grandiose theatrics, Welles creates a character of shifting moods and conflicting motives, yet always consistently believable. In later years, Welles perfected his persona of larger-than-life bluster and wounded arrogance, on screen and off, but he never again got a chance to play a character of such complexity and nuance.

KANE's status as "the greatest film ever made" is always being challenged, defended and debated, yet it is remarkable how seldom the film itself is imitated. Despite being given this perfect blueprint for how to film a biography, it is rare that any film attempts to break free of the this-happened-that-happened style of storytelling. It is as if the legendary stature of the film intimidates others.

Hitchcock once said that film is life with all the dull parts edited out. Welles adheres to this and goes one better: CITIZEN KANE is all highlights and underlined passages, a Cliff Notes biography of sorts. Does this allow us to get to know the real Charles Foster Kane? Well, yes, and no. We are allowed to solve the mystery of "Rosebud," but Kane the man remains just out of our reach. We never really meet Charles Foster Kane, only his shadows. Welles and screenwriter Herman J. Mankiewicz give us pieces of a puzzle, but the pieces are not all from the same puzzle.
An example of excellent visual storytelling
Mysterious - art house classic. The idea of Citizen Kane is interesting in itself, but the presentation exceeds the idea. Citizen Kane perfectly presents flashbacks, witnessing Charles Foster Kane's childhood, his rise and fall from power, the more time passes through the film,the more depth is added, a circular structure. Citizen Kane is surrounded by a cloud of mystery, the mystery seemingly building up to something great. Citizen Kane is mostly told visually, doing so, better than words ever could. Citizen Kane is a rich experience, and all its detail adds up to what Welles is succeeding in telling you about themes of the movie: power, human frailty, the circumstances that make a mere man into something bigger, the men who shapes their own times, and the problems that men like this will have in life as they interact with normal mortals.

Visually impressive, still to this day. It has plenty of exceedingly long takes, making it much more immersive. Citizen Kane was innovative, such as, it didn't go in for close ups on characters' faces to show emotion, Orson Welles allows the audience to choose what they want to watch within the frame. With this kind of filmmaking, it's very clear what the characters are thinking and feeling as it's being shown right in front of you, doing so, Orson Welles chose to give the audience more freedom - he respected the audiences' intelligence. Citizen Kane is one of the most effective films when it comes to film studies, as it's pretty much an entire film studies course in the space of 2 hours. Citizen Kane has a lot of visual symbolism, much of its visual symbolism has been for me quite enjoyable analysing. It doesn't depend on the visual symbolism, rather its visual storytelling, every shot is filled with all these little meaningful stylistic touches that add to the story, ''telling more than a thousand words.''

Bernard Herrmann's score is in my opinion, not anything special, though it still fits the mystery and pace of Citizen Kane. Welles, himself, would often edit the film to fit the rhythm or length of Herrmann's compositions, which can be seen in such scenes as background music whilst Thompson reads the Thatcher papers is reminiscent of the slow unrelenting tick of a clock.

Orson Welles perfectly portrays and captures the spirit of Charles Foster Kane, as a young man, and he even delivers a convincing performance as an old empty man. The rest of the cast are passable, as there are no other stand out performances than Orson Welles' character, Kane.

Recommended for both film buffs and the mainstream movie goer, even people whom like classic theatre or great novels of high rank. The story's pace is pretty fast forward, though some scenes may feel slow compared to modern movies. Some may find it boring, a lot of mixed thoughts on it, from my friends, whom I've seen it with. I, myself love this movie, it has this mystery laying around it, where the end, at first viewing left me silent, thinking over it - I love such endings!
'It's Terrific'
You must have come across many hoardings describing 'Citizen Kane' to be the greatest cinematic experience ever.Initially,I laughed at it as I knew that it was a box-office disaster and how on earth could it be the best film ever?

But out of curiosity I wanted to watch this movie.And guess what?It's terrific.I have never come across a movie which was technically brilliant in every department other than this.This movie deserves a top spot on every movie list just for its sheer brilliance and the execution.

Orson Welles has acted,co-written as well as directed 'Citizen Kane' and I truly believe that no other actor could have done more justice to the role of Charles Foster Kane because Orson is 'Kane' personified.It is a masterpiece in terms of film-making and will be cherished for years to come.
A Film-Study Exercise
A technical masterpiece, making it a must see at least once in one's life. Watch it as a film-study exercise, but not as the great film it is claimed to be.

We follow the life of Charles Foster Kane, a fictionalized character based on the life of William Randolph Hurst. There are strong performances in the film, magnificent use of shadows, angles, sets, as well as the fact that Orson Welles wrote, directed, starred in and had complete control over editing it. (This was unheard of at the time. But this was not really the first independent film production. Look to Howard Hughes and John Ford for this.)

Good or great film-making is ultimately about story telling. For me, a film that moves me emotionally and/or intellectually, employs subtlety rather than insulting my intelligence, has true-to-life characters, presents believable situations, can be enjoyed over and over again, and stands the test of time, earns such praise. I confess that I do prefer to have a strong reaction to the main character, be it empathy, hatred, love or disgust, and some understanding and sympathy of motives. I am well aware that there are people whom are extremely difficult to completely understand, (John Ford, for example), but they are not a complete mystery.

I originally saw this film about 25 years ago. As a college student, I was very quick to parrot traditional perceptions and said, "Great flick!" rather than form my own opinion. I recently re-watched it, and am quite content to wait another 25 or more years before doing so again. When the audience has to don deep-sea diving gear to attempt to understand something about the character via interpretation rather than subtlety, then the film missed the mark. The only character I found evoking any emotion, empathy or real comprehension was Kane's second wife. The film ended without any real understanding of Kane or his why his final words are what they are, nor do you care.

Study the cinematography once in you life. But that's quite sufficient.
📹 Citizen Kane full movie HD download 1941 - Joseph Cotten, Dorothy Comingore, Agnes Moorehead, Ruth Warrick, Ray Collins, Erskine Sanford, Everett Sloane, William Alland, Paul Stewart, George Coulouris, Fortunio Bonanova, Gus Schilling, Philip Van Zandt, Georgia Backus, Harry Shannon - USA. 📀