This scene resonated with me the most. The height of Kane’s influence. The pure energy in the room. You can see how this directly influenced Scorsese when it came to putting men on a pedistal. This is arguably the greatest display of a single man’s praise of all time. The girls, food, friends, song, even the ‘K’ ice. Yet it wasn’t enough for him. That itself says a lot about humanity. The older I get the more I see why this is the greatest film.
Also the part where he ties to force himself on one of the dancers and she pushes him away; foreshadowing that he will eventually try to force himself onto the people. At the end of the day Charles Foster Kane never asks, because he isn’t really interested in what other people want.
When you're such a down-to-earth, ordinary fella that you stage an elaborate, flamboyant, richly-produced musical number about just what a down-to-earth, ordinary fella you are.
Sam DuBois Yeah! I could see similarities too. I’m afraid that all the movies I Like has references to Citizen Kane 🤣🤣 that’s why is probably the best movie of all time
The subtext of this scene is that Citizen Kane has arranged and choreographed this entire scene himself. Technically the song is his autobiography. Note that the lyrics are essentially a riddle. Even his name slightly changes throughout the song.
So IMBD says the 'man singing at Inquire party' is Robert Benjamin Brent... born Robert B Goldenbee, which makes this video my first glimpse of a person from my mothers maternal side of the family. GG uncle! COOL
@@yoshpeters3079 When Mr Burns runs for state governor and when Sideshow Bob wins the mayor election. The start of Rosebud (even the episode name is a reference).
I think this scene so perfectly encapsulates Kane’s folly; he wants to think of himself as a man of the people, but he’s not. He’s the type of man who commissions a song about how humble he is.
Charles Foster Kane is a villain protagonist done perfectly. His charisma and sense of showmanship are so overpowering it’s kind of hard to notice how full of himself and delusional he is at first.
Notice how the flattering song says Kane prefers to be called 'good old Charlie', yet after he becomes successful everyone addresses him as Mr Kane except Jedediah and his wives. The gap between his image as a friend of the people and the reality: a frustrated tyrant.
The nearest Welles got to performing a dance routine on screen. As written, this scene ended with the implication that the party guests' next port of call was a cathouse. Welles and Mankiewicz knew this would not get past the Code censors; it was SOP to include such provocations in draft scripts, so they could be traded against other 'edgy' material the producers really wanted to shoot.
The greatest film ever made ( Magnificent Ambersons is also the greatest) by the greatest and most innovative genius in the art of film- all at the tender age of 25- Orson Welles is worthy of Da Vinci and Shakespeare.
yeah I think ambersons if it had been finished would have eventually become known as the great american movie. the beginning of it is unbelievably good. it's like if renoir had been american
There are several places in this where the performers in the background and the newspapermen in the foreground are lit so differently I think the background is rear projection, and EVERY SINGLE TIME one of the show people comes forward and proves me wrong. I feel like Orson Welles is trolling me.
A lot in this scene. The ceiling on the club they are in (that tended to not be done...shots weren’t low enough that you needed to go the expense of putting in a ceiling), the reflection in the window of Kane dancing around while Bernstein and Jed are talking. The song itself which is fantastic.
Princess Marlena “Oh yes, you are!” *has my hired goons “red light” you* “With the departure of Mr. Marley, there will be an entry level position open in Sector 7-G. Now GET OUT, the bar is closed!”
a wonderful scene that makes me sad with nostalgia for a bygone era...as though I had lived through it myself and missed it somehow. Even though I was born some 50 years after this scene is supposed to be taking place, it is as if I am experiencing it in the collective unconscious of our culture. What does our sadness matter, if some day long ago someone thought that they were happy.
Production Companies: Warner Bros. (current owner) Turner Entertainment (current owner) RKO Radio Pictures (Distributor) RKO Productions (Presentation) Worldwide Kane Limited (copyright holder) Mercury Productions (production)
You buy a bag of peanuts in this town, you get a song written about you. In reference to his vast wealth for a bag of peanuts for him would mean several millions dollars. Imagine if buying a 20 million dollar home was like spending a quarter for you.
I had always thought that Orson was playing Orson in this film..but I realize how he was not even at the time the unctuous sod he sends up in `Kane`. No and I don`t think he was playing Hearst either. The kind of unctuous war mongering sod he sends up in `Kane` is in my opinion none other than Adolph Hitler. If you look at photos of Welles at the time he made `Kane` he was not unctuous. As a matter of fact he was rather all American, clean cut. This makes the impersonation all the greater. No doubt `Kane` is the greatest American film ever made....Sandra Shevey was in Welles last film. She also was a friend of and has interviewed cutter Mark Robson.
I think it was less to do with 'war mongering' and more to do about exerting influence. If he could make America fight a war because he said so, then that would be a form of personal acceptance. Joseph Cotton's remarks about the Chronicle writers changing him, has less to do with them corrupting him, but more to do with having the tools to exert even more power. Power would corrupt and warp him as power was already corrupting and warping him in that scene. Then again it's such a terrific movie that its meanings change after every viewing.
@@jordil6152 I was in Orson`s last film `The Other Side of the Wind`..the crowd scene, shot at Peter Bogdanovich`s house. Night shoot. He was old, tired, past it. Didn`t talk much and I had hoped to do his `Last Interview`. I think he actually was resentful in my maiden piece for The New York Times `Down With Myth America` 24 May 1970 I lampooned his once wife Rita Hayworth. Probably made him feel old.
It's funny, but I think office party scene in Wolf of Wall Street, is heavily influenced by this. With the marching band. Different films obviously, but it's the same energy/mood
I would like to watch this classic movie as i do not know anything about last century cinematography but... can anyone explain to me 1st the fenomena of this movie? After this scene i do not understand whats this fuss all about
tubiak1 the Fenomena about why this film is the greatest its because it changed CINEMA. The way the story is written, the way scenes transition to one another, camera movement, deep focus, lightning. There hasnt been rarely any film that changed cinema . the only one that also did is 2001 a space odyssey.
@@miguelr3135 D. W. Griffith changed cinema first. I feel certain that Welles himself would gladly acknowledge that his contributions to the art of filmmaking were built on the foundation established by Griffith.
You need to watch the whole movie to really understand it. Just watching this is like reading a few pages out of a great novel like War And Peace and declaring it trash. This particular scene isn’t even that interesting. Certainly not one of the film’s many iconic moments.
tubiak1 Like David Parker said, this isn't one of the "iconic" scenes so much, but it does show us Kane in his prime of life, strutting in the cockiness of his youth after playing his role in starting the Spanish-American War (as Hearst himself was a key player in all that) as well as provide the rousing theme song for the movie.
He wrote a song called "The Union Forever" on White Blood Cells -- all of the lyrics come from this movie. But he loved to throw bits of WS songs together at live shows, yes.
