TheGodling
Los Ingobernables de Sala de Cine
Aka the arguably, if not indisputable greatest film of all time. A film that depicts the corruption of ideals and loss of innocence in a slow-burning mission to gain more and more power, but more importantly, a film that was such a huge achievement on storytelling and technical aspects that it single-handedly evolved the film medium to a new level.
Like the opening alone is some of the best film making ever seen.
The way the camera moves up to Xanadu, one step at a time, showing the decay of former glory, the lights flipping off that already tell us Kane's lights are going out, the snow globe illusion and then the nurse entering the room shown distorted through the broken glass of his childhood memories.
Of course, that's only a small part of the cinematic brilliance the film has to offer.
The hall of mirrors, such a skin-crawling moment that perfectly depicts the loneliness of the man who's lost everything in his desire for everything. And once again, like the lights going off in the opening scene, the first shot of Kane reflected in the mirror when the staff watch him leave is again a prelude to the moment to come.
A great scene from the film, but the specific reason I posted it is because of the wide shot of the ballroom at 0:33, because that isn't a ballroom. It's a miniature that they punctured holes into and moved lights behind to create the illusion of movement in the crowd.
A perfect example of the use of Welles' extensive use of Deep Focus, allowing both the foreground and background to be in focus at the same time. Also pay attention that starting at 0:05, the camera moves backwards from the window into the other room and at 0:23 seemingly had to pass through the table to take its position, with the argument playing out while little Charles is playing in the snow in the background. When the scene finally cuts to the close-up of the mother looking outside the window, the next shot again lasts for nearly a minute and a half, before cutting to a close-up of the mother again. Notice that both close-ups also follow two particularly cold-blooded lines by the mother, the first time when she announces she had already packed Charles' bags for a week now, and the second when she tells the father he's going where he can't get at him, and both times she's looking at her son, showing that her cold treatment is really towards the husband despite it being so hard on Charles.
And of course there's also the impeccable writing, as seen in these two great scenes:
"Really Charles, people will think..."
"What I tell them to think!"
Also the way the scene starts with the camera moving towards the two sitting close together, and at the end pans out to show the literal distance of them setting at the far ends of a bigger table.
"You're right Mr. Thatcher, I did lose a million dollars last year. I expect to lose a million dollars this year. I expect to lose a million dollars next year. You know, Mr. Thatcher, at the rate of a million dollars a year, I'll have to close this place in... 60 years."
And to end it my favorite movie quote of all time:
"Old age... it's the only disease, Mr. Thompson, that you don't look forward to being cured of."
Like the opening alone is some of the best film making ever seen.
The way the camera moves up to Xanadu, one step at a time, showing the decay of former glory, the lights flipping off that already tell us Kane's lights are going out, the snow globe illusion and then the nurse entering the room shown distorted through the broken glass of his childhood memories.
Of course, that's only a small part of the cinematic brilliance the film has to offer.
The hall of mirrors, such a skin-crawling moment that perfectly depicts the loneliness of the man who's lost everything in his desire for everything. And once again, like the lights going off in the opening scene, the first shot of Kane reflected in the mirror when the staff watch him leave is again a prelude to the moment to come.
A great scene from the film, but the specific reason I posted it is because of the wide shot of the ballroom at 0:33, because that isn't a ballroom. It's a miniature that they punctured holes into and moved lights behind to create the illusion of movement in the crowd.
A perfect example of the use of Welles' extensive use of Deep Focus, allowing both the foreground and background to be in focus at the same time. Also pay attention that starting at 0:05, the camera moves backwards from the window into the other room and at 0:23 seemingly had to pass through the table to take its position, with the argument playing out while little Charles is playing in the snow in the background. When the scene finally cuts to the close-up of the mother looking outside the window, the next shot again lasts for nearly a minute and a half, before cutting to a close-up of the mother again. Notice that both close-ups also follow two particularly cold-blooded lines by the mother, the first time when she announces she had already packed Charles' bags for a week now, and the second when she tells the father he's going where he can't get at him, and both times she's looking at her son, showing that her cold treatment is really towards the husband despite it being so hard on Charles.
And of course there's also the impeccable writing, as seen in these two great scenes:
"Really Charles, people will think..."
"What I tell them to think!"
Also the way the scene starts with the camera moving towards the two sitting close together, and at the end pans out to show the literal distance of them setting at the far ends of a bigger table.
"You're right Mr. Thatcher, I did lose a million dollars last year. I expect to lose a million dollars this year. I expect to lose a million dollars next year. You know, Mr. Thatcher, at the rate of a million dollars a year, I'll have to close this place in... 60 years."
And to end it my favorite movie quote of all time:
"Old age... it's the only disease, Mr. Thompson, that you don't look forward to being cured of."
Coli film buffs.
.