Many critics consider Citizen Kane to be the greatest movie of any time, and with all reason to conclude so. After all, it was an artistic masterpiece and a technological wonder. However, the films greatness does not derive solely from its artistically executed cinematic, dramatic, and literary elements, but also from the details instilled inside each and every frame, and the manner in which its every brass helped develop the theme.
Gregg Tolands cinematography was revolutionary. The combination of montage, black-and white lighting, wide-angled lenses, deep centralise photography, long tracking shots and sets with ceilings, redefined American film narrative. Deep snap allowed everything in the frame, foreground and background, to be in focus at the same time. The story was told by means of composition, camera angle, and opthalmic styles, just as much as it was told by plan and dialogue. The entire tale was told in flashback, and used fading transitions to raise the passage of time. It had an enormous impact on the movie industry, as the camera took positions that were previously unknown. Before Citizen Kane, the camera tended to film background shots. The audience would be exposed to things that a human perceiver may not have noticed, but upliftmed natural on screen. Citizen Kane introduced a camera view that no human would see otherwise.
It would notice two things at once, exemplified in the scene where Mr. Bernstein is discussing the baffle of the new employees with Mr. Leland, and Mr. Kane can be seen in the mirror comment dancing with the showgirls. Not only did this film influence the count on of studio pictures of the 40s, but it also set the tone for the incoming of cinema, proving that the were boundless possibilities and that the camera could record any conceivable image.
As a tribute...
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