First off, full disclosure: My middle name is Orson, after our favorite cinematic wunderkind. Make of that what you will.
Now on to the meat of the issue: Citizen Kane is a fucking incredible movie. Wanna talk broadly about its influence and artistry? OK, then: it’s a Ulysses-like encapsulation of American history spanning 1895-1941, of political/economic ambition and its downfall, of the Faustian bargain that constitutes the “American dream,” all told with wit and tragedy and chiaroscuro poetry. It’s a mad gambit by a first-time filmmaker that’s since become a byword for great Hollywood cinema.
But less loftily: It’s fun. It’s puckish. It’s one of my “raw pleasure” movies—a joy to quote and rewatch ad nauseum. I never understand it when people complain about Kane as if it’s this hulking, glacial, inaccessible art film. Are they watching the same Kane I am, the one bubbling with jokes and cute banter? Yes, it’s haunted by Charlie’s broken childhood, his spoiled dreams of high office, and his ruinous relationship with poor Susan. But it’s the very opposite of a slog.
One of Kane‘s many miracles is that it’s so dense, so full, and somehow still so light. It has Joseph Cotten at his finest, dropping self-deprecating one-liners left and right; it has Gregg Toland’s impossibly inventive camera, like the bastard child of a kaleidoscope and an angel; it has that adorable scene where Charlie alleviates Susan’s toothache through laughter; and of course it has Welles himself, a boy genius both within and without the film, laughing at the world while haunted by his past and future.
It’s so poignant, but so charming. So cynical, but so alive. It’s a romance, a biopic, an epic, a film noir, a horror movie, a political thriller, a drama set in the world of turn-of-the-century journalism… it’s such a massive, magical feat that I can’t help but react with awe and delight. I love every frame, every line, every performance in Kane. Like I said: a fucking incredible movie.
As for this “greatest movie of all time” thing? It’s a silly diversion from the movie’s true power. I have nothing against Sight & Sound‘s once-a-decade polls, the same ones that canonized Kane; in fact, I think they can be a handy barometer of critical opinion. However, these polls have also given hordes of adolescent cinephiles the false impression that calling Kane “boring” is an act of courage. Come on, everybody. We’re better than that. Cinema isn’t a horse race; it’s a cornucopia, with no single “greatest movie” looking down on the rest. Appreciate movies for their own merits, not because they have (or have not) been voted “the best.”
And while you’re at it, watch Citizen Kane. Because it’s a really funny, tender, smart, incredible movie.