Suite au décès d'un magnat de l'édition, des journalistes se démènent pour découvrir le sens de ses dernières paroles.Suite au décès d'un magnat de l'édition, des journalistes se démènent pour découvrir le sens de ses dernières paroles.Suite au décès d'un magnat de l'édition, des journalistes se démènent pour découvrir le sens de ses dernières paroles.
- A remporté 1 oscar
- 11 victoires et 13 nominations au total
Histoire
Le saviez-vous
- AnecdotesDespite 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.
- GaffesDuring 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.
- Citations
Mr. Bernstein: Old age. It's the only disease, Mr. Thompson, that you don't look forward to being cured of.
- Générique farfeluIn 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.
- Autres versionsThe 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.
- ConnexionsFeatured in The Projectionist (1970)
- Bandes originalesIt 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
Commentaire en vedette
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.
Utile•1K225
- Cowman
- 2 mai 2004
- Lien permanent
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langues
- Aussi connu sous le nom de
- El ciudadano Kane
- Lieux de tournage
- Busch Gardens - S. Grove Avenue, Pasadena, Californie, États-Unis(Xanadu Grounds, demolished)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 839 727 $ US (estimation)
- Brut – États-Unis et Canada
- 1 627 530 $ US
- Brut – à l'échelle mondiale
- 1 707 754 $ US
- Durée1 heure 59 minutes
- Couleur
- Rapport de forme
- 1.37 : 1
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