Kane the Man

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Charles Foster Kane walks through the threshold of the room that was once occupied by his beautiful wife—a shrine to her celebrity, a celebrity that was as empty as it was critically panned—but now stands wrecked and uninhabited.  Through his own machinations, he had made that woman who she was; not only was her fame a product of his intrusion, but so, also, was her marriage to him.  For years they had sat on opposite sides of the vast hall, she with her jigsaw puzzles on the floor, he in his throne-like master chairs, looking at the gargantuan fireplace before him.  Were there ever two more isolated activities than those?  Now, that void had been finally realized, and she had left him—for once, a decision based on her own free will.  His behavior had brought about her departure, and he recognized his role in it.  But, he would not be undone.  He had built that shrine, he would tear it down.  And so he had.  And now, behind him, the bedroom lays a shambles: statues, trophies, linens and furniture broken, torn and scattered throughout the room. Continue reading

The Story of Citizen Kane: William Randolph Hearst and the Kane Controversy

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The story of Citizen Kane as already written in this blog—the story of Orson Welles, the Mercury Theatre, Gregg Toland, RKO Pictures, and Herman Mankiewicz—is all well and good; but the story has far more significance when examined from a different perspective.  Imagine, for a moment, that all those players about whom I wrote in my previous post—Orson Welles, the Mercury Theatre, Gregg Toland, RKO Pictures, and Herman Mankiewicz—are the “good guys”, the protagonists, in this story about the movie’s production.  Well, a good story always has a bad guy. Continue reading

The Story of Citizen Kane: The Mercury Theatre and Other Players

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I hope that in reading the introduction to this series of essays on Citizen Kane, you—the reader—went and rented the movie and watched it, or at least wanted to.  I want to write so much about the movie; but to not watch the movie until I am done writing would, I think, be detrimental.  Part of that is because the movie is known for its important ending, which I would hate to spoil.  However, to not write about the ending would be to not write about the whole movie.  It puts me in an awkward situation.  So, go watch the movie.  Then, I won’t feel bad in throwing around some spoilers. Continue reading

“There’s Nothing Good on Netflix”…or is there?

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Before I continue with my series of essays on Citizen Kane (i.e. the best movie I’ve ever seen, and probably will ever see), I must respect the wishes of a few people who have made a special request.  I always play requests, even if that means I delay whatever plans I may have had for a post or a page.  That is, I will always play requests until that time that this blog actually gains a real following and I won’t be able to keep up with the demand.  But, until that time, bring ’em on. Continue reading

My Introduction to a Series of Essays on Citizen Kane

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The most intimidating part of this blog is now upon me.  Part of me has wanted to do this for a long time.  Another part has been apprehensive. Continue reading

Fantasy Academy Awards Ceremony

Okay, so this is a little indulgent.  But I can’t help but think that all this Academy Award talk in which I have been engaging can be diverting in this quest from casual movie watching to competency in film.  What I would like to do is bring back the discussion from contemporary films and set our sights backwards again, towards the vast world of cinema that encompasses over a hundred years of art and culture.  So, I’ve decided to go back and set up my own hypothetical awards ceremony, complete with honorary awards and imaginary glamor.  Imagine a red carpet with Miley Cyrus in her fishnet leggings and Audrey Hepburn in her black Givenchy dress; Jared Leto’s long hair followed by Humphrey Bogart in unbelted wool jackets.  The notion is enchanting, sure.  Those basketball or football video games that I like to play often have a “fantasy draft” setting or a pick-up game kind of setting were you can do the most absurd things: you can have LeBron James play against Oscar Robertson, or have the Detroit duo of Isaiah Thomas and Bill Laimbeer take on Michael Jordan and Dennis Rodman.  Why not do something like that for movies?  I consider this “fantasy academy” a well-earned journey into the indulgent imagination of my own self.  It is time to let all those worlds, the world of John Huston, the world of Federico Fellini, the world of Robert Bresson, the world of Martin Scorsese, and the world of Christopher Nolan, all come together in the ultimate exposition of glamor, art, competition, and class.  And considering the fact that my lists of the greatest directors and movies and acting performances are buried so deep in this blog, I feel like a resurrection of these lists in some new form is not an altogether bad idea, especially considering the fact that I just posted a page which, in essence, restated all the principles and theories that this blog has laid out thus far.  As long as I’m in the “reviewing” mode, I might as well review those earlier lists by having a little fun; having my own awards ceremony in my head.

The nominees are listed in alphabetical order.  There are 10 nominees for each category.  The winners are in bold.  I have hyperlinked all but one of the nominees to clips online (most of which can be found on YouTube) for your viewing pleasure. Continue reading

86th Annual Academy Awards

With my most recent page focused on the topic of “Awards Season”, I have considered it worthwhile to post my own comments in regards to the upcoming Academy Awards.  This is merely the opinion of one man, and they are not to be read as predictions.  I have merely selected those films which I think should win, not those that shall win.  This was a fantastic year for film, and there were, therefore, no shortage of “snubs.”  I should make some preliminary comments: the Academy is primarily American, and these awards are undoubtedly ethnocentric.  I don’t think there’s anything wrong with that.  So, while foreign films do indeed have a category of their own, and while these foreign films do indeed get the occasional nomination in other categories—including “Best Picture” every now and again—I am not putting up a fight that we should take the Academy Awards ceremony away from its home.  I am the first to assert that the world as a whole produces better films in cooperation as opposed to the narrow scope of Hollywood, which casual movie-goers too-often consider as the only true factory of film.  However, I will not try, in this blog post in particular, to fight against a solid, respectable tradition.  So, there there are two foreign films that make the “Best Picture” race, at the expense of a couple very popular American films (sorry), but for the most part, the ethnocentrism is maintained.  Critics who decry American films get annoying, after all.  It’s not like we can’t make a good movie ourselves.  We often make the best movie in a given year.  Granted, it takes 100 movies to make one good one.  But that’s beside the point.  Besides, think of all the jobs we’re creating.

KEY:  My pick for winner is in boldface.  The asterisks (*) mark those who shouldn’t have been nominated in my opinion and should rather have been replaced with those that were “snubbed.”  The “snubbed” category refers only to those films that should have been nominated, not those that could have been or those that barely missed the cut (there are three exceptions here…you’ll see them in the “Best Picture”, “Makeup and Hairstyling”, and “Original Song” categories).  I include various notes to explain my more controversial picks.  You will notice that some “snubs” were so egregious that even the person or film who should have won it all was not even nominated (“Makeup and Hairstyling”, “Original Song”, and “Foreign Language Film.”)  I watched all the movies that were, and might have been, nominated, with the exception of a few that I refused to watch based on sexual content or lack of personal appeal.  These movies were Blue is the Warmest Color, Jackass Presents: Bad Grandpa, and The Wolf of Wall Street.  I also could not get to most of the short films, as most of them are accessible only in certain windows of time. Other than that, my opinions should be considered pretty valid. Continue reading

The Great Dictator (1940)

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Charlie Chaplin is so much fun to watch that he’s actually fun to write about.  I recently had a social networking request to hear a review of The Great Dictator, and since I have enjoyed writing the last three film reviews so much (all three about Chaplin movies) I must readily accept this request.  The decision is not made lightly.  After all, this movie is by far his most controversial, not just in regards to his content but also in regards to the large spectrum of approval that this movie has been subject to over the years. Continue reading

City Lights (1931)

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In my review of Modern Times, I said that it was part of Charlie Chaplin’s “Big 3” along with The Gold Rush and City Lights.  Since I have already reviewed The Gold Rush as well—and, in that review, admitted that I had great desire to tarry in Chaplin’s world for a little while—I would like to now provide a review of Chaplin’s best picture, City Lights. Continue reading

The Gold Rush (1927)

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I have decided that as long as I am here, I will stay here and enjoy it.

For me, after all, Charlie Chaplin is like Paris.  He’s that thing you’ve always heard of and can recognize in a heartbeat even if you’ve never really seen it for yourself.  He’s the one who’s always been there; not a single person alive today knows of a time when he wasn’t.  He’s the icon that transcends just one country; he belongs a little bit to everyone.  Amid a Hollywood full of Chicagos and Houstons, Chaplin is the La Ville-Lumière, the City of Love and Lights.  It is only fitting, therefore, that he made such urban films.  With that being said, his personal favorite film, and the one which is most universally praised, is The Gold Rush: his most rural. Continue reading