" I think i did pretty well under the circumstances." To what extent do you agree with Kane's evaluation of his own life?
Took me 1 hr on the dot. OH AND CAN SOMEONE TELL ME WHETHER I SAY KANES OR KANE'S?
p.s. my teacher gave it a 9/10 and said i need to break up the paragraphs a bit more. Is that true?
The perplexing nature of life makes it difficult to determine whether Charles Foster Kane's life was success or a failure. Orson Welles Demonstrates in the motion picture, Citizen Kane, that it is superficial to judge a man's life based on their achievements; there is something deeper that drives a man to do what he does. Nonetheless, while determining whether Kane did pretty well under the circumstances may be deceptive and remarkably difficult, Welles invites viewers to evaluate whether this statement is true. Setting new heights in cinematography and visual narration, Welles illustrates the successes and failures of one of the most "potent figures of our time."
From an onset of the opening montage, an aery and gloomy aura is established as dark sky's cast a shadow as to whether Charles Foster Kane did well under the circumstances. A hostile surrounding prohibits entry with a "No Trespassing" sign indicating that the landlord is unwelcoming and "alone." While the camera pans across a collection of "scenery and statues" an ominous feel is established with no visible human to occupy such a "monumental" property. Again, Welles may be suggesting that Kane's life is abundant in materialistic wealth but lacks human presence. This makes it difficult to determine whether Kane enjoyed his life as the definition of "well" is equivocal and open to individual interpretation. In contrast, Welles makes it clear that Kane did not do well under the conditions he was brought up in as viewers are submerged into a world devoid of affection of love. As eagerness builds to know what is hidden behind the lit room, the camera dissolves into the room positioned close to Kane's face. This may help establish more insight into the life of Charles Foster Kane who we see on his death bed lacking any human comfort other than a nurse paid to care for him. The idealization of such a revered lifestyle that Kane leads is tarnished early on in the film as Welles demonstrates that coming into possession of a "private pleasure ground" does not provide happiness that can only be attained through human affection. Welles illustrates a vivid image of the outcome of Kane's life as he lies on his death bed "alone," devitalized in his mechanical movements. He is at a distant from what is perceived to be the product of success and happiness. It is inconceivable for a man to end up any worse than the state Kane is in as Welles clearly shows the superficial and hollow life he has formulated no matter the circumstance of his past.
As the viewers delve deeper into the unravelling of what lead Kane into a state of isolation and despair, Thatcher's reminiscences of Kane as a child provide a glimpse into the answer of such a question. Used a part of the mise-en-scene, snow gracefully opens up the scene which perhaps suggests that Kane is contempt with his life further substantiated by the "fun" times he is having, despite living a "simple" life. In such a carefree life welles duplicitously invites viewers to feel as though Kane is joyful. A deep-focus shot is used to position Kane as though he is confined within a rectangular window barricaded between Thatcher, Mary and Joe as they discuss the proceedings. Such a cinematic technique is incorporated to highlight the face that Kane is in a transitional phase and the course of his life is changing at this moment. It is clear that Mary has good intentions for her child giving him financial security and potentially the "world sixth largest private fortune." However it becomes increasingly apparent that Kane's desire not to visit "Chicago and New York" is vital in maintaining his happiness. Pushing Thatcher to the ground is Kane's final desperate attempt to stay in the comfort and affectionate possession of his mother. To this point it is enigmatic as to why Kane ends up "lonesome" when he is given such an opportunity, one that is idealized in mainstream society. Nonetheless, Kane's facial expressions show discontent for being taken away by a banker. As the sled is covered in snow, the symbolic eminence of this scene is to display the slow deterioration of his childhood and consequentially his happiness from this point onwards. Sympathetic towards Kane's lonely death, Welles demonstrates how Kane is able to expand his political and financial aspirations despite being taken away from his parents and losing his childhood.
The perennial effects of his lost childhood is clear through his future relationships with his friends and loved ones as he continuously attempts to "dictate" everybody around him. This however does not explain is rapacious behavior and the need to "order everybody" perhaps indicating that he fails to capitalize on having these close bond with the people he eventually loses. Emily and Susan play a significant role in Kane's life as he uses woman to replace the loss of his mother and to further his failing ambitions. The portrayal of Kane as representative of the "working man" is remarkably deceptive highlighted in the scene where Kane and Emily site around a dining table. Through fast paces transitional scenes, Welles shows the degrading state of their relationship. Initially displaying signs of physical affection before Kanes arrogance of telling people "what to think" creates an emotional and physical barrier between them. Finally she is seen reading The Daily Chronicle, Kane's newspaper competition, to mark he unwavering discontent for her husbands behavior. Perhaps he marries the "presidents niece" to further his political career failing to "love anybody." His demise of not being able to love is possibly the result of his lost childhood taken away from forcefully. The ability to marry and even have a child suggests that Kane left "many stones to mark his grave" despite the difficult nature of his upbringing.
A pathetic individual who nonetheless is able to deceive other to love him, Welles portrays Kane as a successful individual who is able to attain most of what he desires. Yet he "never finished anything." This is a far cry from his innocence as a lonely child, unable to voice his opinions. Through being a "holder of mass opinion," Kane mendaciously propagates Susan's singing career despite the fact that she is horrible at it. Even Sinore Matisti regards such a task as "impossible" as maintaining the audiences attention becomes increasingly difficult. Nonetheless, The desire to "fight" the critics further fuels Kane's obsession for making Susan a successful operatic singer as he attempts to urge people to continue clapping even after she has left the stage. His ruthless behaviour makes him lose track of reality failing to see the "decaying" state that Susan is in as the only thing important to him is not to have himself "made ridiculous," even if it means driving Susan to attempt suicide. Viewers, while sympathetic to Susan's degrading health, are left to question whether Kane uses the power and influence he acquires for good purposes? Standing over Susan, Welles portrays Kane as a domineering individual who is oppressive and lacks any compassion for his loved ones. All that seems to be priority for Kane is maintaing his image to the public. Certainly, Orson Welles pervasively shows Kane's life as a failure as he becomes a man depraved of love and friendship despite living like a "pharaoh."
Through carefully positioned visual techniques, Welles demonstrates how the outcome of Charles Foster Kane's life is unfathomable compared to the opportunities given to him in life. From the relationships that he destroys to his crumbled "political machine," Kane's life becomes symbolic of an egotistic, egocentric and ruthless man who nonetheless gains the sympathy of the viewers. In contrast, the difficulty of leaving his parents at such a young age may justify the fact that he "lost everything."
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