Word: kanes
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...There are no second acts in American lives," wrote F. Scott Fitzgerald, who died in 1940 a few miles from the Hollywood editing table where Orson Welles was giving birth to his own screen legend with Citizen Kane. The sin of Welles' life was that it had two complementary, all-American acts: heroic tragedy, then celebrity farce. By the time he was 25, Welles had traveled the world, appeared at the Gate Theater in Dublin, stormed Broadway with crackling, sepulchral productions of Shakespeare and The Cradle Will Rock, scared America out of its wits with his War of the Worlds...
...MYSTERY OF CITIZEN WELLES ORSON WELLES: A BIOGRAPHY by Barbara Leaming; Viking; 562 pages; $19.95 ORSON WELLES: THE RISE AND FALL OF AN AMERICAN GENIUS by Charles Higham; St. Martin's Press; 373 pages; $19.95 THE MAKING OF CITIZEN KANE by Robert L. Carringer University of California; 180 pages...
...Cranston ("The Shadow knows!"); 23 when he touched off a national panic with his broadcast of a Martian invasion in H.G. Wells' War of the Worlds. Invited to Hollywood to do pretty much as he pleased, he started out by creating one of the best films ever made, Citizen Kane, which he starred in, directed and partly wrote before he was 26. Ever since, for nearly half a century, it has been all downhill, all the way down to that obese figure holding up a wineglass in a TV commercial...
Although Higham's book suffers from his inability to talk to Welles, it nonetheless seems a more accurate portrait than Leaming's collection of quotations from her hero. Still, if Welles had never started a single film after Citizen Kane, he would remain one of Hollywood's great creators. Now that cinema has become a major field of study in academia, several surveys have shown that Citizen Kane is by far the most thoroughly explicated film. So there is a place in the classroom for The Making of Citizen Kane. Robert L. Carringer, an associate professor of English and cinema...
...find themselves, his premise of an idealist lost in the anti pastoral post-war haze of reconstruction is nonetheless an interesting one. It suffers, however, from Schepisi's overly artful direction and pacing. In an attempt to recreate the vanguard, new wave look of Orson Welles' Citizen Kane, cinematographer Ian Baker arbitrarily splices the film every twenty minutes or so in order to mark the passage of time, eschewing the more conventional and smoother dissolving methods. The problem, of course, is that Baker isn't Welles and his product is nothing more than a pretentious, inferior copy of the real...