Tras la muerte de un magnate de la industria editorial, los periodistas se apresuran a descubrir el significado de la última palabra que pronunció.Tras la muerte de un magnate de la industria editorial, los periodistas se apresuran a descubrir el significado de la última palabra que pronunció.Tras la muerte de un magnate de la industria editorial, los periodistas se apresuran a descubrir el significado de la última palabra que pronunció.
- Ganó 1 premio Óscar
- 11 premios y 13 nominaciones en total
Argumento
¿Sabías que...?
- CuriosidadesDespite all the publicity, the film was a box-office flop and was quickly consigned to the RKO vaults. At the 1941 Academy Awards, the film was booed every time one of its nine nominations was announced. It was only re-released to the public in the mid-1950s.
- PifiasDuring the picnic scene towards the end, Welles had to shoot against a back-projection because a location shoot was too costly and time-consuming. The stock footage used for the exterior was taken from King Kong (1933), hence on closer inspection the four birds that fly by are in fact very definite pterodactyls. RKO told Welles to take the pterodactyls out of the shot, but he liked them, and decided to keep them.
- Citas
Mr. Bernstein: Old age. It's the only disease, Mr. Thompson, that you don't look forward to being cured of.
- Créditos adicionalesIn a very rare move the director's credit is shown on the same card as the cinematographer's. This was Orson Welles's personal decision to show his thanks to cinematographer Gregg Toland for his enormous contributions to the film, meaning equal rights.
- Versiones alternativasThe Italian-language version cut an overwhelming number of scenes, leading to "complete" versions of the film to be circa half of the time in English and only the remaining half in Italian.
- ConexionesFeatured in The Projectionist (1970)
- Banda sonoraIt Can't Be Love
(uncredited)
Written by Charlie Barnet and Haven Johnson
Arranged by The King Cole Trio
Performed by Raymond Tate, Buddy Collette, Buddy Banks, CeePee Johnson, and Alton Redd
Reseña destacada
It's a difficult undertaking for someone of my generation to watch a film like CITIZEN KANE. Not because it's "too old" or "too boring", but because it has been hailed--almost universally--as the single best motion picture ever made. And while the anticipation of seeing a film with such overwhelming acclaim may be quite exhilarating, actually watching it is ultimately an intimidating and somewhat disappointing experience.
This isn't to say that I thought CITIZEN KANE was a bad film; in fact, I thought everything about it was downright brilliant. From the enchanting performances right down to the meticulously planned camera movements and clever lighting tricks, there isn't a single element of CITIZEN KANE that isn't a stunning achievement in all areas of filmmaking.
CITIZEN KANE's storyline is deceptively simple. Even though the plot unfolds by jumping in and out of nonlinear flashbacks, it is surprisingly easy to keep track of. The straightforwardness and relatively fast pace of the story are what make it seem intimidating. Because everything moves smoothly along without any standstill, it feels like we are being fooled-like there is something much greater that we just can't seem to grasp. As a first-time viewer, I knew from its reputation that there must be *something* that separates this movie from all the others; something buried within its simple plotline that everybody else has seen, but that I just could not seem to get a handle on. And then, during those final frames, that something was revealed, and it all began to make sense. To me, it was these moments of confusion and uncertainty followed by a sense of enlightenment and appreciation that made watching CITIZEN KANE such a meaningful experience.
But no matter how great of a movie CITIZEN KANE really is, it can never live up to one's expectations. Although I do feel that it is deserving of its acclamation, the constant exposure to its six decades worth of hype and praise will invariably set most modern viewers' standards at a height that is virtually unreachable--even if it really *is* the best movie of all time.
This isn't to say that I thought CITIZEN KANE was a bad film; in fact, I thought everything about it was downright brilliant. From the enchanting performances right down to the meticulously planned camera movements and clever lighting tricks, there isn't a single element of CITIZEN KANE that isn't a stunning achievement in all areas of filmmaking.
CITIZEN KANE's storyline is deceptively simple. Even though the plot unfolds by jumping in and out of nonlinear flashbacks, it is surprisingly easy to keep track of. The straightforwardness and relatively fast pace of the story are what make it seem intimidating. Because everything moves smoothly along without any standstill, it feels like we are being fooled-like there is something much greater that we just can't seem to grasp. As a first-time viewer, I knew from its reputation that there must be *something* that separates this movie from all the others; something buried within its simple plotline that everybody else has seen, but that I just could not seem to get a handle on. And then, during those final frames, that something was revealed, and it all began to make sense. To me, it was these moments of confusion and uncertainty followed by a sense of enlightenment and appreciation that made watching CITIZEN KANE such a meaningful experience.
But no matter how great of a movie CITIZEN KANE really is, it can never live up to one's expectations. Although I do feel that it is deserving of its acclamation, the constant exposure to its six decades worth of hype and praise will invariably set most modern viewers' standards at a height that is virtually unreachable--even if it really *is* the best movie of all time.
- Cowman
- 1 may 2004
- Enlace permanente
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Detalles
- Fecha de lanzamiento
- País de origen
- Sitio oficial
- Idiomas
- Títulos en diferentes países
- Ciutadà Kane
- Localizaciones del rodaje
- Busch Gardens - S. Grove Avenue, Pasadena, California, Estados Unidos(Xanadu Grounds, demolished)
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 839.727 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 1.627.530 US$
- Recaudación en todo el mundo
- 1.707.754 US$
- Duración1 hora 59 minutos
- Color
- Relación de aspecto
- 1.37 : 1
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Principal laguna de datos
What is the streaming release date of Ciudadano Kane (1941) in Spain?
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