For its acolytes, Citizen Kane is simply the best.

 The 75th anniversary release trailer for Orson Welles' 'Citizen Kane.'

Citizen Kane (1941) - Rotten Tomatoes

Non-linear storytelling is commonplace now but wasn’t commonplace in Hollywood circa 1941. Citizen Kane opens at Kane's super-palatial estate as he’s on his deathbed, uttering his mysterious final word: “Rosebud.” From there, the story is told in flashbacks as an investigative reporter (William Alland) interviews former colleagues, loved ones and other unreliable narrators to piece together the puzzle of Kane’s life.

The  section for Citizen Kane is a greatresource to ask questions, find answers, and discuss the novel.

Citizen Kane Reviews - Metacritic

Charles Higham and Joel Greenberg describe Citizen Kane as "the depiction of the American Dream gone sour" (109). The term "American Dream" refers to the concept that anyone can come to America and do well if they work hard, regardless of their social class or circumstances. The idea is rooted in the Declaration of Independence, which proclaims "all men are created equal". At first, Charles Foster Kane seems to embody the American dream. He is given the best schooling and upbringing that money can buy, and through vision and hard work, parlays that into a massive media empire. However, the film shows all the goals of the American Dream - power, wealth, status - to be empty and worthless. Ultimately, Charles Foster Kane dies alone, in the castle built by the spoils of his own American Dream, lamenting his lost childhood.

You probably should; it's practically the Citizen Kane Citizen Kane is a 1941 film, produced by  and Mercury Films.

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Harlan Lebo in his book Citizen Kane, A Filmmaker's Journey reveals the massive scope of Hearst's plot to destroy Welles and his film.


The production history of Citizen Kane reads like a film script

Along the way, he was telling the life story of Charles Foster Kane (played by Welles), a press baron who has enormous wealth and influence, but doesn’t attain either the political office or the love he craves. A fictionalised version of William Randolph Hearst, it’s this towering central character that gives the film its air of significance, as well as its continuing air of relevance: the parallels with Citizen Murdoch, Citizen Trump and Citizen Jobs are easy to spot. But rather than playing out like a conventional biopic, Citizen Kane is a jigsaw puzzle that pieces together multiple narrators and multiple perspectives. It spans multiple genres, too. The cover of my Universal Cinema Classics DVD categorises it as a “mystery drama”, but an exhaustive list of its genres would take up the whole box.

13 Classic Facts About ‘Citizen Kane’ | Mental Floss

More important than the screenplay, though, was Welles’ own vivacity: no other meditation on failure, regret, and the cruelty of time has ever had such youthful exuberance. Astoundingly, Welles was only 25 when Citizen Kane was released. Already a star in the theatre and on the radio, he was lured to Hollywood by RKO Pictures with the promise that he could make any film he wanted, without interference. Previously, he hadn’t been interested in cinema: an assistant named Miriam Geiger had to put together a handbook of the different lenses and shots he might try. But he was soon enthralled by the possibilities that the movies opened up, and he made use of them all in Citizen Kane. A film studio, he quipped, was the “the biggest electric-train set any boy ever had”.

Citizen Kane Blu-ray: Ultimate Collector's Edition

For Trump, though, the movie seems to come across instead as a cautionary tale, one about how money isn’t everything, one starring a character he related to deeply. This isn't entirely a surprise. Watching the film, it’s impossible to dismiss the eerie number of things that he and Kane have in common. They both rose to wealth with the benefit of an inheritance, Trump from his developer father, Kane from a gold mine discovered on property left to his mother by a customer unable to settle a boarding house tab.

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Inevitably, many subsequent films have some of that same ebullience: Martin Scorsese’s The Wolf of Wall Street recreates the scene in which Kane throws a party for his newspaper staff, and their office is invaded by a marching band and a high-kicking chorus line. But not even Scorsese’s eternally boyish dynamism can match that of Welles when he was making Citizen Kane. No-one’s can. Today, no first-time director in his mid-twenties would be given such complete control of a major project. And no first-time director could possibly come to Hollywood with Welles’ naive ignorance and arrogance about what could be achieved. In 1941, Welles was both beginner and expert, undergraduate and professor, young Charlie and old Charles Foster. And if he never had the boundless freedom and energy to make another film like Citizen Kane, neither did anyone else. It’s terrific.