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

mercury cbs

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

Apocalypse Now (1979)

images

My structure remains.  Hitchcock, Coppola, silent film.  Hitchcock, Coppola, silent film.  Hitchcock, Coppola, silent film.  Perhaps after that, I’ll move on to other things.  As for Coppola, The Godfather movies provide only so much potency.  What The Godfather enjoyed, perhaps to a greater degree than any other movie was that it was a story so stunning–and so driven by motif and character–that it probably could have made itself.  Put a director with Francis Ford Coppola’s touch behind the camera and the movie no longer makes itself, but instead becomes the most precious clay a sculptor could ever want: a clay that becomes a masterpiece by mixing the perfection of the plot with the tenacious and dexterous master’s touch.  With that being said, there is perhaps no Coppola film that better exhibits the directorial skill of its creator than 1979’s Apocalypse Now. Continue reading