Orson Welles’ classic film, “Citizen Kane” (1941) , has and will continue to transcend time as it
explores the vast milieu of themes central to the workings of the human condition. The necessity of
love, the complexity of human relationships and the corrupting influence of power are all evaluated
through an imaginative combination of cinematic strategies all collaborating to portray the life and
eventual demise of Charles Foster Kane. These themes invite audiences to continue to relate to the
text as the ideas explored are universal and thus relatable to all audiences across contexts. While many
texts through the ages have explored these notions, Welles’ ability to integrate these ideas in a highly
sophisticated manner, incorporating techniques that were innovative in his context, allows his creation
to stand tall among many.
Human relationships are a fundamental construction of nature which are analysed throughout “Citizen
Kane”, appealing to the modern audience. Welles is able to explore the complexity of these relations
via imaginative use of lighting and mis-en scene in the portrayal of Kane’s relationships with
surrounding characters. The first is confronted during Thatcher’s flashback and the subsequent
emotional reactions of Kane’s mother towards him. Welles use of characterisation through costuming
creates a woman who has lost all ounces of her femineity, achieved through the use of clothes which
are stark, her hair being fiercely pulled back, and the minimal display of makeup. However, viewers
are compelled to realise that she has acquired this persona for Kane’s protection. The relationship
between Kane and his mother is not achieved through the development of a physical relationship, but
rather through the ultra-realism of deep focus photography. The sustained use of a single camera shot
also provides another element of realism, allowing the audience to further immerse themselves into
this fully layered world and experience these complex human connections. Within the scenes
beginning moments, we are confronted by Ms Kane on whose face light falls dimly. For a moment,
she is able to establish a connection with Kane as she too is shrouded in light and calls out, “Be
careful Charles”, presenting the juxtaposition between her harsh exterior and her endearing dialogue.
Smooth and innovative camera movement then introduces Thatcher and Kane’s father, with low-key
lighting indicative of their bleak and careless nature towards him. These varying elements convey the
many reasons as to the films enduring appeal. Responders are cleverly compelled, via Welles
ingenious cinematic style, to witness to these human interactions without the inadequacies of over-
the-top dialogue or physical interaction.
Kane’s relationships, particularly with his wives, are also significant in enlightening contemporary
responders that love is an essential human ideal. The breakdown of his first marriage, portrayed via
one montage constituting thirty- two shots, provides the greatest opportunity for Welles’ audience to
identify Kane’s inability to form valued human connections. The montage commences with Kane and
Emily sitting adjacent to each other, bathed in warm light which presents them as love-struck
newlyweds. Subsequent segments exchanged via swish pans and jump cuts reflect the passage of time
and the rapid decline of a marital relationship. The continued disintegration of their marriage is
furthered through their increasing separation via material goods and hostile dialogue. Kane’s failure to
sustain his first marriage is often linked to his childhood loss of home and family, as critic Jorn K
Bramann writes “The injured child inside him was Kane’s real self insofar as he never outgrew it”.
The snow globe and the Rosebud sled burning up in flames depicts the trauma of his childhood during
the films closing scenes and its intrinsic link to his demise. The Everglades picnic scene provides
another snapshot of Kane’s inability to show affectionate love. The overlay of the blues singer’s
lyrics, “this can’t be love, because there is no true love”, lends emotional resonance to Kane and
Susan’s virtual exile existence. Low key lighting casting half of Kane’s face in shadow depicts the
falsity of his affection, of which Susan challenges by protesting “you don’t love me, you want me to
love you!” Through an elevated level of skill in editing and creative thinking, Welles is able to portray
the destructive nature of Kane’s relationships, allowing audiences to appreciate the uttermost
importance of love to the human experience.
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