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Citizen Kane
A puzzle that never fits together, and a Xanadu of eccentric shadow images, formed around a mystery that turns out to be nothing, an unlived longing, a dream abandoned. The deepest reason for His Highness, the newspaper magnate, Senate candidate and All-American Citizen Kane, and at the same time the centre of the film that bears his name: a hole, a void. That which was missed in life and does not appear in the images: happiness, love. Or something outstanding, something left open: ‘Rosebud’ (as the dying man's mouth whispers). With its morbidly tilting perspectives and intertwined narrative levels, Citizen Kane showed film noir all the ways and opened the gates to dark labyrinths. In 1941, Welles proved that cinema can handle the plurality of time as smoothly as the most advanced modern novel. The use of Bernard Herrmann's music, to whom Welles attributed half of the artistic success, was also groundbreaking. (H.T.)