Citizen Kane Scene Analysis

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Citizen Kane Scene Analysis
The scene we’re analyzing starts off with a shot of the New York Daily Inquirer. It’s a close shot, taking up the entire screen. I feel this close up is to show the viewer that the newspaper company is going to be the primary focal point for Kane, and his two partners at this point in the film. After the close up, the camera pans down to show Kane and Leland sitting in a car looking up at the building. Kane says “Take a good look at it Jedidiah, it’s going to look a lot different one of these days.” Despite the look on Kane’s face being one of optimism and promise, this statement gives leeway to all of the bad things to follow. Kane specifically says, “look a lot different” as opposed to anything else (i.e. Something specifically positive in nature). I believe this ambiguous statement was intentionally written in the script to give the viewer a little foreshadowing towards bad things to come. Kane and Leland then exit the vehicle and hop up the stairs into the building, while simultaneously, Bernstein pulls up in a coach filled with a bed and other furniture. The cab driver says, “There aint no bedrooms in this joint, that’s a newspaper building,” to which Bernstein replies, “You’re getting paid mister, for opinions or for hauling?” This dialogue provides two things. One, reemphasis on how serious Kane takes the newspaper company because not even a few moments later Kane tells the editor in chief that he is going to literally live in his office, and then two, it provides a moment of irony for the film. Bernstein snaps at the cab driver for not doing specifically his job, but rather giving his opinion in the matter, but that’s exactly what Kane does with the paper company when printing stories. The next shot shows how Kane intends to “shakeup” the news business. It starts with showing the backs of Kane and Leland looking into the Inquirer’s news floor with Kane stopping before walking in to look at his partner and flash him a mischievous grin. They both enter and the room, and it is extremely quiet and formal in nature. Kane walks into the room looking for the man in charge, where as Leland looks around the room and even stops to swing around the pole, giving his entrance a “dramatic flare” to it. Mr. Carter, the bewildered editor in chief, who is confused by which man is Kane, meets both gentlemen, where Kane introduces himself and Leland, whom he reiterates is his “dramatic critic”. Kane seems a little taken back from the formality of the situation as the entire floor is standing due to his arrival, and after he requests everyone to be seated, he is off the races so to speak completely changing the environment of the company. The scene immediately becomes chaotic with Bernstein falling into the room, the dialogue being loud, and hurried, whimsical music being played, and a very broken conversation being had between Kane and Mr. Carter at the entrance to his office, while people are moving things into the office. The next shot is a continuation of showing how Kane is making immediate changes to the company. It starts with Kane sitting at his desk (Mr. Carter’s previous office), while a weary and exasperated Mr. Carter standing at the desk, being given another broken and chaotic conversation, while Leland interrupts with a cartoon drawing, Kane interrupts twice in regards to being hungry, and Bernstein budding in to agree with Kane. The conversation is about a missing persons report that was in The Chronicle, a rival newspaper, and Kane is telling Mr. Carter that he wants it covered by the Inquirer as well. However, Kane wants the focal point of his story to have implications that Mr. Silverstone (the husband of the missing woman) is directly responsible for his wife missing if he is unable to provide the whereabouts of his wife. Kane even goes as far to tell Mr. Carter to have one of his reporters pose as a detective to bully Mr. Silverstone into either providing the location of his wife, or...
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