Is Kane the greatest movie ever made? Between 1962 and 2002 that was its reputation and the consensus view: it topped Sight & Sound’s poll for four consecutive decades, only to be displaced by Vertigo in 2012. This year, it polled #3rd, behind Jeanne Dielman and Vertigo. Is Welles’ reputation in eclipse then? Does his first and most accomplished Hollywood movie withstand the test of time? Does it still speak to us, intellectually and/or emotionally, or has this vaunted classic accumulated too much dust sitting on top of the canon?
Orson Welles’s debut is an extraordinary piece of work whichever way you look at it. This was the most sophisticated movie to come out of the Hollywood studio system to that time, and it opened up the creative possibilities of the narrative feature film on an unprecedented scale.
Nor is the film “only” an aesthetic tour-de-force. Thematically, it’s just as complex. It’s the life story of media magnate Charles Foster Kane, or William Randolph Hearst, or George Orson Welles, but someone else is always telling it, and then someone else is retelling it from a different perspective. “’Rosebud”, Kane’s enigmatic last word, remains a potent symbol because the different meanings ascribed to it aren’t wrong, they all have value, even if none of them gives us the whole story.
The impossibility of accounting for someone’s life may be the key Welles’ theme, along with the equal impossibility of measuring up to your own aspirations. There is a terrible emptiness at the heart of such a project, and Welles’ dynamic, baroque style can be interpreted as a rush to deny or stave off that knowledge, just as Kane himself fills warehouses with objets d’art.
Sunday’s screening in our PANTHEON series will feature free refreshments and a short introduction by an expert in the field.
Dec 17: Introduced by VIFF Centre programmer + a special guest
The former champion still feels like a grand summation of film’s early development as an artform and a glimpse of the future, too. At the same time, it’s a hugely entertaining portrait of the media narcissism and demagoguery that underscore American politics.
Scott Tobias
Sadly, it’s fashionable now to chip away at its greatness. This temptation should be resisted. The audacious American masterpiece of the 20th century, not only for its cinematic innovations and storytelling vigour, but for how accurately it dissects the ’American character’.
Eddie Muller
film that amply rewards repeated viewings, revealing new depths, new nuanced details, new mysteries. There is no greatest film, but if there were, for me this would surely be the strongest contender.
Geoff Andrew
Presented by
Orson Welles
Orson Welles, Joseph Cotten, Dorothy Comingore, Agnes Moorehead, Everett Sloane
USA
1941
English
Book Tickets
Indigenous & Community Access
Credits
Producer
Orson Welles
Screenwriter
Herman J. Mankiewicz, Orson Welles
Cinematography
Gregg Toland
Editor
Robert Wise
Original Music
Bernard Herrmann
Also in This Series
Les Enfants du Paradis (Children of Paradise)
The crowning glory of classical French cinema, this sumptuous melodrama brings to life the early 19th century Boulevard du Crime in Paris, where popular audiences for mime shows and carnival rub shoulders with wealthy patrons of classical theatre.
The Wild Bunch (Director's Cut)
The Mexico/Texas borderlands, 1913: Pike (William Holden) leads his gang of aging outlaws on a foray south for one last hurrah. Peckinpah's masterpiece, a savage lament for men who believe in nothing but find respect by dying in vain.
The Ascent
During the darkest winter of WWII, two Soviet partisans venture through the backwoods of Belarus in search of food, always at risk of falling into enemy hands. In her masterpiece Larisa Shepitko zeroes in on profound spiritual and philosophical themes.
Portrait of a Lady on Fire
Céline Sciamma's queer costume drama -- about a painter covertly studying a young noblewoman who refuses to sit for her portrait -- was voted 30th Greatest Film Ever Made in a 2022 poll, the highest ranking film of the past decade.
I Am Cuba
Infused with a palpable love for the country and a righteous anger at the injustices of the Batista era, I Am Cuba features some of the jaw-dropping camerawork ever filmed. A euphoric celebration of Cuba, the Revolution, and revolutionary cinema.
The Colour of Pomegranates + The House Is Black
This month's Pantheon screening is a double-bill, Sergei Parajanov's extraordinary evocation of the life and work of C18th Armenian poet Sayat Nova, and, The House is Black (22 min), the only film directed by the great Iranian poet Forugh Farrokhzad.