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Film / Citizen Kane

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Hey, have you seen Citizen Kane? You probably should; it's practically the Citizen Kane of film.

Charles Foster Kane

Citizen Kane is a 1941 film, produced by RKO Pictures and Mercury Films. It is Orson Welles' first feature, and he produced, co-wrote (with Herman J. Mankiewicz), directed and played the leading role as Charles Foster Kane.

Inside his unfinished palatial mansion, media mogul Charles Foster Kane lies Dying Alone, having lived in seclusion from the world for many years. With his final breath, he utters the word "Rosebud." The movie unfolds in flashback as Intrepid Reporter Jerry Thompson tries to unravel the significance of Kane's dying declaration through interviewing those who knew him. However, no one he talks to knows just who or what Rosebud was, the closest answer he gets is from Kane's butler who concludes he was just saying a nonsense word. Thompson never does solve the mystery, though the answer is shown to the audience in the final scene. The conclusion? It is indeed Lonely at the Top.


Welles' debut film was the product of a unique contract that gave him full Auteur License and "final cut" approval.note  He had been an avant-garde theatre director and radio star, and his first film as a director was a technical breakthrough in cinematic storytelling and pioneered several achievements in cinematography, set design and special effects. The film was also controversial for its protagonist's thinly-veiled resemblance to real-life media mogul William Randolph Hearst, who subsequently moved to sabotage its release.

It is also the Trope Codifier and indirect Trope Namer for It Was His Sled.

Represented the film debut and Star-Making Role not just of Welles but of most of his Mercury Theatre troupe that came with him to Hollywood. Joseph Cotten, who plays Kane's best friend Jed Leland, became a major star. Agnes Moorehead, who went on to enjoy a long career as a character actress, plays young Kane's mother in the opening sequence. Bernard Herrmann, who was the composer for Welles' The Mercury Theatre on the Air radio show, became one of the most famous composers in Hollywood history. Future A-lister Alan Ladd can be seen as the reporter smoking a pipe (he's talking with Thompson in the last scene). Robert Wise, who later enjoyed a hugely successful career as a director, did the editing.


This film provides examples of:

  • Abusive Parents:
    • Mr. Thatcher seems to be very distant from his young ward. Have you ever wondered how any human being could ignore that to have love, you have to give love? Well, just imagine him being raised by Mr. Thatcher.
    • Emotionally, Mrs. Kane towards her son as she wants to ensure that he has wealth and "proper" upbringing at the cost of being raised by his parents. The irony is that by trying to protect Kane from his physically abusive real father, his mother condemned him to emotional neglect by Mr. Thatcher.
    • Kane's father, physically speaking, which is partly why his mother sends him away in the first place. Although, in his defense, the one time he threatens to strike his son is after Charles violently pushed Thatcher down with his sled.
  • Actor Allusion: Kane knows plenty of magic tricks that amuse Susan. Orson Welles himself was an amateur magician.
  • Actually Pretty Funny: Leland writes a scathing review of Susan's opera performance, passing out from drink afterwards. Kane reads it over his shoulder and can't help laughing.
  • Actually, That's My Assistant: When Kane is buying the Inquirer, the editor of the paper mistakes Leland for Kane.
  • Age Cut: "Merry Christmas" [cut forward about 15 years] "and a Happy New Year".
  • Aimlessly Seeking Happiness: Alongside his desperate need to be loved "on his own terms", this is the Tragic Dream of Citizen Kane, hence the mysterious "rosebud": it's the sled he owned when he was a child, symbolizing the last time in his life he was truly happy and contented with his lot, before Mr. Thatcher took him away from his parents; he found the sleigh again as an adult, but he couldn't regain the sense of innocent joy. In much the same way that he tried to find love by lavishing people with pointless gifts and sacrificing nothing of himself, Charles Foster Kane tried to find happiness by collecting artworks and junk in equal measure, but none of it brought him any real happiness — to the point that some of the statues he bought were never even removed from their crates.
  • Air Quotes: In-Universe and a Plot Point: Jed chuckles that Kane was determined to make Susan an accomplished opera star to Take That! the newspaper describing her as a "singer".
    Jed: You know what the headline was the day before the election, "Candidate Kane found in love nest with quote, singer, unquote." He was gonna take the quotes off the singer!
  • All in the Eyes: Kane's eyes are lit at the opera house during Susan's disastrous debut. It shows his monomania and disconnection from the audience reaction.
  • All Take and No Give: Kane's main problem. He wants everyone to love him, but he doesn't have any love to give in return.
  • Alternative Character Interpretation: In-Universe with the opening newsreel in which Kane is denounced as both a communist and a fascist.
  • Ambiguously Gay: Leland the "Broadway critic" is coded as gay (couldn't be stated outright under The Hays Code) and was possibly infatuated with Kane in his early years.
  • Ambiguously Jewish: Mr. Bernstein. In fact, it's implied in one scene that Kane's first wife feels uncomfortable around Bernstein for precisely that reason.note  Emily also complains about a Noodle Incident with Bernstein.
    Emily: Your Mr. Bernstein sent junior the most incredible atrocity yesterday, Charles. I simply can't have it in the nursery.
    • The atrocity in question is a mezuzah, a box containing sacred Hebrew texts (usually the Ten Commandments), affixed to a doorpost, often believed to act as a warding or protection (and thus a protection over the child). Additionally, if "Mr. Bernstein is apt to pay a visit to the nursery now and then", he'd kiss his fingers and then touch the mezuzah upon entering and leaving the room.
  • Anachronic Order: The film starts with the title character's death, gives us a brief newsreel outline of his life, then fills in the details of his life with a series of flashbacks. The flashbacks are not in chronological order; their order depends on the order in which a reporter interviews people.
  • And Starring: The final image of the credits, after all the secondary characters have had clips shown of them with their actors' names, is a list of the bit part actors. Then at the bottom it says "Orson Welles as Kane". Roger Ebert stated it was a blatant example of false modesty on Welles' part. He adds that listing Gregg Toland's cinematography credit alongside his directorial credit on the same card was true modesty.
  • Anger Montage: The room trashing sequence. The movie commentary tracks note that this scene was a bit of "method acting"invoked that got out of control. Welles broke his hand very early in the sequence; you can see him favoring it at the end. Also different from the typical example in that it is shown in a couple of long master shots, rather than an actual montage of closeups: this is because they could only do one take.
    Welles: (after shooting the scene) I felt it. I felt it.
  • Arbitrarily Large Bank Account: Given that he was based on William Randolph Hearst, Kane qualifies.
  • Arc Words: "Rosebud" is a possible Ur-Example. Of course, it's not really enigmatic anymore.
  • Arch-Enemy: Walter Parks Thatcher and 'Boss' Jim W. Gettys to Charles Foster Kane.
  • Aside Glance:
    Thatcher: "I think it would be fun to run a newspaper." Hmmph!
  • Badass Boast:
    Kane: You're right, I did lose a million dollars last year. I expect to lose a million dollars this year. I expect to lose a million dollars next year. You know, Mr. Thatcher, at the rate of a million dollars a year, I'll have to close this place in ... [Smirking] 60 years.
  • Became Their Own Antithesis: Kane begins with a declaration of principles, championing the Inquirer and himself as a tireless seeker of truth and justice and the defender of "the common man", until he slowly becomes a power-hungry controller of information who wants the common man to love him but who has none to give back, exemplified when he loudly proclaims that the people will think "what I tell them to think."
  • Betty and Veronica: Kane's wives, Emily and Susan, respectively. Emily is a starchy, proper society woman; Susan is Kane's brash, working-class mistress.
  • Big Eater: Kane, as evidenced by this early exchange:
    Jedediah: Are you still eating?
    Kane: I'm still hungry.
  • Big Fancy House: Xanadu, which is cited as the largest private estate in the world, the cost of which to maintain quote "No man can say."
  • Blade-of-Grass Cut: Rosebud does not apply, but the snow globe might.
  • Blunt "Yes":
    Leland: Bernstein, am I a stuffed shirt? Am I a horse-faced hypocrite? Am I a New England school marm?
    Bernstein: Yes. If you thought I'd answer you any differently than what Mr. Kane tells you...
  • Bookends: The same shot of Kane's house and the fence in front with a sign reading "No Trespassing".
  • Brainless Beauty: Susan Alexander Kane is naïve more than stupid, really. It's just that her voice has "bimbo" connotations. (She does however seem to believe that there might be a 12-hour difference between New York and Florida.)
  • Broken Ace: Under all his wealth and prestige, Kane is a broken man who can't hold down a relationship with anyone and desperately longs for his stolen childhood.
  • Burn Baby Burn: The last shot is of Kane's childhood sled burning. Ultra close up on the sled's name, which is Rosebud — but, come on, you should know this already.
  • Bus Crash: Thanks to the Moral Guardians (divorce, at the time, being considered immoral), Kane's first wife and son had to be killed in a car crash so Kane could marry Susan.
  • Byronic Hero: Kane is an archetypal example. As a little boy, he gets snatched from his family and introduced into the cold, ruthless worlds of media, politics, and business. By rising to the top of that ruthless world through cutthroat cunning, he becomes an internationally famous media tycoon and one of the richest men of all time. But under all that wealth, he's a broken man who can't hold down a relationship with anyone and desperately longs for his stolen childhood.
  • Calling the Old Man Out:
    • Kane delivers one to his adoptive guardian, Mr. Thatcher:
      Kane: You know, Mr. Bernstein, if I hadn't been very rich, I might have been a really great man.
      Thatcher: Don't you think you are?
      Kane: I think I did pretty well, under the circumstances.
      Thatcher: What would you like to have been?
      Kane: Everything you hate.
    • This is displacement. Kane's really angry at his mother, for sending Kane away when he was young, and putting him into Thatcher's hands. Implicitly, Thatcher is a decent (if very conservative) middle-aged banker who did his best while (ahem) raising Kane.
  • Censor Decoy: The birthday/song scene originally took place in a brothel. Welles knew he'd never be able to get away with that, but he kept it in the screenplay so the execs at RKO wouldn't notice the jabs he was taking at Hearst.
  • Central Theme:
    • How will the world remember you when you are gone?
    • Money can't buy love or happiness. Even the most powerful people in the world often truly desire simple things—like having a real childhood.
    • Even in a world of mass information, it's sometimes impossible to "know" the people around us truly.
  • Chekhov's Gun:
    • The now-legendary sled appears very early in the film when Thatcher, in his memoir, recounts his first meeting with Kane, who was a child at the time.
    • Also the Declaration of Principles, which Leland sends back to Kane after Kane has betrayed those principles.
    • The snowglobe Kane drops upon his death is first seen in Susan Alexander's bedroom when Susan invites Kane into her home. It reappears again after Susan leaves Kane.
  • Chiaroscuro: Like many tropes, the usage of Chiaroscuro in film was widely popularized by Citizen Kane, although it was already common in German expressionist cinema. This ties into the film's use of "Deep Focus" (one of the techniques cinematographers rave about in the movie). The way they managed to bring foreground and background objects into focus in the same shot required the more distant objects to be extremely brightly lit, encouraging the heavy-shadow Chiaroscuro compositions. Which is why Welles put Gregg Toland's name on the same card as him.
  • Classical Antihero: The titular character, albeit one Played for Drama.
  • Collector of the Strange: Kane is one. He collects so many things — animals and plants, everything he had in his life — that after his death, a lot of his collection is not catalogued nor even unpacked, and has to be sold off or destroyed:
    Newsreel Narrator: [At beginning of news reel on Charles Foster Kane's death] Legendary was Xanadu where Kublai Khan decreed his stately pleasure dome. Today, almost as legendary is Florida's Xanadu, world's largest private pleasure ground. Here, on the deserts of the Gulf Coast, a private mountain was commissioned and successfully built. One hundred thousand trees, twenty thousand tons of marble are the ingredients of Xanadu's mountain. Contents of Xanadu's palace: paintings, pictures, statues, the very stones of many another palace — a collection of everything so big it can never be catalogued or appraised, enough for ten museums — the loot of the world. Xanadu's livestock: the fowl of the air, the fish of the sea, the beast of the field and jungle. Two of each, the biggest private zoo since Noah. Like the pharaohs, Xanadu's landlord leaves many stones to mark his grave. Since the pyramids, Xanadu is the costliest monument a man has built to himself. Here in Xanadu last week, Xanadu's landlord was laid to rest, a potent figure of our century, America's Kubla Khan — Charles Foster Kane.
  • Conversation Cut: This happens more than once. The Age Cut where Thatcher says "Merry Christmas", and after a 15-year Time Skip "and a Happy New Year", is also a Conversation Cut. Another such cut comes when Leland is delivering Kane's standard stump speech to a small crowd, cutting smoothly to Kane delivering the speech to a huge crowd in a large arena.
  • Corpsing: Joseph Cotten stayed up 24 hours so that he could be believably drunk in one scene. When he says "film crimiticism", Orson Welles can't help but grin at the unplanned if realistic flub of the line.
  • Creator Cameo:
    • Cinematographer Gregg Toland appears as a reporter in a brief scene in the opening montage.
    • Pretty much every male in the cast plays one of the reporters in the opening projection room scene as well. This is one of the reasons why it was shot so darkly and shadowed, even compared to the rest of the film. Joseph Cotten is still clearly visible in the corner, however, when the editor is asking "What were his last words?"
  • Dark Reprise: As Kane is embarking on his political career, he brings a marching band and a line of chorus girls into his conference room to sing a very upbeat rendition of "There Is a Man, a Certain Man" to the assembled businessmen and politicians at the conference table. ("Who is this man? It's Charlie Kane! He doesn't like that 'Mister'; he likes good old 'Charlie Kane'!") Much later, after Kane has lost the race for New York governor under extremely humiliating circumstances, a much slower and even dirge-like version of "There Is a Man" is played as an instrumental tune as Kane's campaign workers clean all the confetti off of the stage.
  • Dead-Hand Shot: At the beginning, with the snow globe, when Kane drops it as he dies.
  • Dead Sparks: Charles and Emily Kane, as shown in the dinner table sequence, when their once warm relationship ends with them not speaking to each other.
  • Death Glare: Orson Welles gets off a Death Glare that could have melted steel, right after Thatcher asks "What would you like to have been?". Kane answers "Everything you hate."
  • Decade-Themed Filter: On the "News on the March" segment, clips such as Kane's first marriage were undercranked and sandpapered to give out an 1890s feel.
  • Deconstruction: In the context of the '40s, and even today to some extent, Citizen Kane radically subverts the conventional Hollywood narrative.
    • Citizen Kane was in many ways an attack on the narrative style of The Golden Age of Hollywood as well as several American types like the Self-Made Man and The American Dream. Namely, that the idea of defining life in terms of social success and wealth ultimately makes you value people less and makes you want to control and buy people around you.
    • The theme of the story, that of an antihero Dying Alone, unredeemed, an unpleasant, manipulative Jerkass who never learns his lesson even in his old age and who leaves behind several disappointed friends and broken loved ones was fairly harsh, in terms of absence of easy conflict resolution, putting across the futility of life and the passage of time. Likewise the characters are not consistent or slaves to type. Rather than being marked by a single trait and attribute, they have multiple traits and attributes. Kane goes from an idealistic, flamboyant young man to a reclusive, paranoid hermit; the Character Development isn't drastic or cordoned to a single transforming event.
    • The opening newsreel montage also parodies the glib, cheery newsreel style reportage at the time, pointing out that even if the information is objectively correct, the tone, interpretation, and drastic editing only give a shallow, superficial idea of the subject. The multiple-narrators approach, which is still quite revolutionary, directly puts across the problem of objectivity, since there's always at least one missing side of the story, and ultimately the reporter, William Alland, decides that the full mystery of Kane or his motivations cannot really be known and gives up on finding out what Rosebud is. Even if the film supplies The Reveal and gives viewers a resolution to the Driving Question of "What is Rosebud?", the idea that it can explain Kane any more than the other stories we see remains up in the air.
  • Decoy Protagonist: The film is a double subversion. Even though Kane is the title character, he's actually the person we learn about through multiple third-person perspectives of him, since he died at the beginning. The real protagonist is Jerry Thompson, whose goal throughout the film is to find out what "Rosebud" meant.
  • Depth Deception: The film used this subtly:
    • In one scene, a window turns out to be both much larger and much higher up than it initially appears, which means that when Kane approaches it, he suddenly appears much smaller and less significant. This, of course, is used for symbolic effect.
    • Also done with the fireplace in Xanadu, which is revealed to be large enough to burn whole trees when Kane goes back to it.
  • Determinator: One of Kane's Fatal Flaws, such as forcing the world to accept Susan as an opera singer, which drives her into a suicide attempt.
  • Digital Destruction: The film got an accidental taste of this. In one scene, out the window there was supposed to be rain; the person in charge of the film's restoration thought it was excessive film grain, so it was digitally edited out of the restored print. Later, the Blu-ray boasted a new restoration, which brought back such details as the aforementioned rain.
  • Downer Beginning: Kane dies in the first scene of the film.
  • Downer Ending: One of the most famous examples in cinema. By the end of the movie, the viewer realizes that, despite being on top of the world, Kane was tremendously unhappy and what he wanted above all else in his life was to be loved. Kane dies alone, as the movie opens, as he remembers the last time in his life when he was truly happy; when he was playing with his beloved sled, Rosebud. Plus the fact that the reporter and the rest of the world never do find out what "Rosebud" is. The only way the viewer finds out is when it's too late; when the sled is being burned, along with some of Kane's other belongings. The real tragedy is that he had the sled as part of his property throughout his whole life. Still, owning it didn't change a thing — the past is the past. This also means that Kane died with one cherished secret only he knew. The press and the populace could never get their hands on what was closest to his heart. And the snow globe, which Kane held until he died, had belonged to Susan, who had loved him for himself. He was thinking of her, too.
    • In many respects this movie is the polar opposite of It's a Wonderful Life - In this movie a man who has everything dies discovering that he never really had anything; in It's A Wonderful Life a man who has nothing is reborn discovering he's really always had everything
  • Dramatic Drop: The snowglobe that's dropped as Kane dies.
  • Dramatic Irony: Susan rips into Kane for publishing Leland's nasty review ("Stop telling me he's your friend!"), but she never finds out that Kane himself wrote most of it.
  • Dramatic Shattering: The snow globe at the beginning.
  • Driven to Suicide: Susan eventually decides that she's done with the opera singing and all the scathing critiques it brings and tries to overdose. She survives however, but nonetheless stops singing.
  • Driving Question: What the hell is this "Rosebud" thing?
  • Droste Image: This effect is shown when Kane passes between two mirrors.
  • Dug in Deeper: A variant occurs, only without hilarity ensuing. Subverted by the fact that Susan knows that, while she's not completely untalented, she's nowhere near good enough to carry an opera all on her own. It's only Kane using all his wealth and influence to push her into the spotlight against her wishes.
  • Dungeonmaster's Girlfriend: Kane funds an elaborate opera show for the sole purpose of casting his girlfriend in the lead role.
  • During the War: Kane manipulates the public sentiment to incite the war. Bear in mind that the film came out before America entered World War II.
  • Dying Alone: Kane at the beginning. The rest of the movie is devoted to showing why he was alone.
  • Dying Candle:
    • Throughout the opening montage showing Kane's vast Xanadu estate, a single lit window is visible on the upper right hand corner of every shot, getting closer all the time. At the end, the light goes out, leading to the memorable scene of Kane uttering his dying word.
    • Susan's failed opera career is shown through a chaotic montage punctuated by a flashing lightbulb (supposedly the one used to cue the actors backstage). The montage ends abruptly with the bulb burning out, followed by Susan in bed with some sleeping pills next to her bed, implied to be a suicide attempt. Subverted in that Susan survives, although the burned out bulb can also symbolize the death of her opera singing career.
  • Epic Tracking Shot: Both the tracking shot into El Rancho, and the tracking up the ladder during Susan's opera performance — and yes, it used a visual effect (miniature ladder).
  • Establishing Character Moment: The first major scene with Welles as a 24-year-old Kane has him arguing with Thatcher over how he was running The Inquirer. It does extremely well with establishing how money was simply not a concern of his in any way, shape or form.
  • Et Tu, Brute?: Lampshaded by Susan when the Inquirer gives her a bad review:
    Susan: Stop telling me he's your friend! A friend don't write that kind of review! All these other papers panning me, I could expect them, but when the Inquirer writes a thing like that, spoiling my big debut...!
  • Everyone Has Standards: Even Jim Gettys is shocked Kane won't listen to his wife or Susan and spare them humiliation.
  • Expy Coexistence: An attempt that backfired big-time: a throwaway line at the very beginning of the movie compares Charles Foster Kane to the Real Life media magnate William Randolph Hearst, acknowledging that Kane is a completely different (not to mention fictional) person. Hearst still felt incredibly insulted at what the movie supposedly implied of him and used all the power of his media empire to try to censor the film and make Orson Welles' life a living hell.
  • Exty Years from Publication: The present year is 1941. Charles Kane was taken from his parents in 1871 (70 years ago).
  • Face Framed in Shadow: The film has a few shots of Kane's face framed in shadow and stepping into light, or the other way around.
  • The Faceless: The reporter Jerry Thompson (William Alland) is always shown from behind, or from a long distance, or with his face hidden in shadow, along with all of his reporter colleagues. According to Welles, it was a tribute to the hardworking reporters behind those film reels that were never seen. Roger Ebert called Alland's performance the most thankless, since he's the character who is the Audience Surrogate, yet he never got due credit because no one saw his face.
  • Fatal Flaw: Kane wanted to be loved, but on his own terms. Kane also doesn't Know When to Fold 'Em.
  • Fat Suit: Welles wore one to play the older Kane. Back in the days before he didn't need one.
  • Fiction 500:
    • Kane is a media tycoon who has more than enough money to spend on constructing Xanadu (which is described in-universe as "the world's largest private pleasure ground") and filling it with exotic animals and priceless art from around the world. One early scene has his adoptive father Mr. Thatcher argue with him over how much money he's losing on running a newspaper and Kane's response?
      We did lose a million dollars last year. I expect to lose a million dollars this year. I expect to lose a million dollars next year. You know, Mr. Thatcher, at the rate of a million dollars a year, I'll have to close this place in ... sixty years.
    • The above quote is said when he is still just starting out, and he's currently #5 on the Forbes Fictional 15. One million dollars at the time is approximately $27 million today; thus, "starting out" and thanks to his family's gold holdings (and his mother's management), Mr. Kane is worth at least $1.6 billion.
  • Film Noir: Although there's no crime involved, the movie has a lot of tropes associated with the genre.
  • First-Name Basis: "He doesn't like that 'Mister' / He likes good old 'Charlie Kane'!"
  • Flashback: Lots of them.
  • Forced Perspective: Used on multiple occasions. Maybe most notable in the early scene where Thatcher and Bernstein are sitting at a desk signing papers, in front of some ordinary-looking bay windows. Kane enters the frame, and then walks away from the desk—and walks quite a bit further than one might have guessed, revealing that the far wall is actually further away than it looked and that those bay windows are some seven feet off the ground. This also has the effect of making Kane look tiny in a scene where he is being humiliated by having to sign away much of his media holdings.
  • Foregone Conclusion: The fake newsreel spells out the whole plot, minus "Rosebud".
  • Foreshadowing: It's very subtle, but in his first meeting with Susan Alexander, Kane says that 1) he had all the stuff from his childhood home carted up and delivered, and 2) he wanted to go take a look for old times's sake. This sets up The Reveal about "Rosebud".
  • Forgotten Fallen Friend: The newsreel reveals that Kane's first wife and their son die in a car crash. They are never again mentioned in any scene that takes place after they died. Nobody suggests that among Kane's many personal problems, losing his only child might be one of them.
  • Framing Device: The story is told mostly via interviews of people who were close with Kane with a reporter.
  • Freudian Excuse:
    • Kane's parents forfeited custody of their son to an emotionally distant banker. Yeah, he's sure going to turn out A-OK in adulthood...
    • On the sled symbolism in Citizen Kane, Orson Welles remarked: "It's a gimmick, really, and rather dollar-book Freud."
  • Gave Up Too Soon: Thompson, after spending all the movie looking for the answer to the Driving Question gives up precisely in the very room the answer lies.
  • The Gay '90s: A good chunk of the film takes place in the 1890s, when Kane is at his height as a media mogul.
  • Get Out!: Kane, when caught in an affair and Gettys threatens to go forward with the scandalous story:
    Gettys: You're making a bigger fool of yourself than I thought you would, Mr. Kane.
    Kane: I've got nothing to talk to you about.
    Gettys: You're licked. Why don't you—
    Kane: Get out! If you want to see me, have the warden write me a letter!
    Gettys: If it was anybody else, I'd say what's going to happen to you would be a lesson here ... only you're going to need more than one lesson ... and you're going to get more than one lesson.
    • The widowed Susan Alexander is so embittered, she refuses Mr. Thompson's request for an interview:
      John: Miss Alexander? This is Mr. Thompson, Miss Alexander.
      Susan: I want another drink, John.
      John: Right away. Will you have something, Mr. Thompson?
      Thompson: I'll have a highball, please.
      Susan: Who told you you could sit down?
      Thompson: I thought maybe we could have a talk.
      Susan: Well, think again. Can't you people leave me alone? I'm minding my own business, you mind yours.
      Thompson: If I could just have a little talk with you, Miss Alexander, I'd like to ask you—
      Susan: Get out of here. Get out!
  • Gilded Cage: How Susan feels about Xanadu.
  • Gilligan Cut: When Kane announces his intention to make Susan Alexander an opera star, a reporter asks if she'll sing at the Met:
    Susan: Charlie said if I didn't, he'd build me an opera house.
    Kane: That won't be necessary.
    [Cut to newspaper headline: "KANE BUILDS OPERA HOUSE"]
  • The Greatest Story Never Told: No one, except the audience, will ever know what Rosebud really means or signifies. It becomes a missing piece of a jigsaw puzzle and a Riddle for the Ages. Thompson hangs a Lampshade on it at the end:
    Thompson: Mr. Kane was a man who got everything he wanted and then lost it. Maybe Rosebud was something he couldn't get, or something he lost. Anyway, it wouldn't have explained anything ... I don't think any word can explain a man's life. No, I guess Rosebud is just a ... piece in a jigsaw puzzle ... a missing piece.
  • Greedy Jew: Subverted. It's Kane's very Jewish business associate Mr. Bernstein who says that there's more to life than money.
    Bernstein: Well, it's no trick to make a lot of money ... if all you want is to make a lot of money.
  • Grey-and-Gray Morality: The election between Kane, whose flaws are expounded upon for the whole movie, and Gettys, who seems to be every bit as corrupt as Kane portrays him. In the race between these two, who would you vote for?
  • Hail to the Thief: After Charles' and Emily's wedding:
    Emily: Sometimes, I think I'd prefer a rival of flesh and blood.
    Kane: Oh Emily, I don't spend that much time with a newspaper.
    Emily: It isn't just the time, it's what you print: attacking the President!
    Kane: You mean Uncle John?
    Emily: I mean the President of the United States!
    Kane: He's still Uncle John, and still a well-meaning fathead who's letting a pack of high-pressure crooks run his administration. This whole oil scandal--
    Emily: He happens to be the president, Charles, not you.
    Kane: That's a mistake that will be corrected one of these days.
  • Happiness Realized Too Late: Introduced isolated inside his unfinished palatial mansion, media mogul Charles Foster Kane lies Dying Alone, having lived in seclusion from the world for many years after the wholesale failure of his ambitions and relationships. With his final breath, he utters the word "Rosebud." The movie unfolds in flashback as Intrepid Reporter Jerry Thompson tries to unravel the significance of Kane's dying declaration through interviewing those who knew him. However, no one he talks to knows just who or what Rosebud was, the closest answer he gets is from Kane's butler who concludes he was just saying a nonsense word. Thompson never does solve the mystery, though the answer is shown to the audience in the final scene: It Was His Sled from his childhood that represented a simpler, happy time that Kane could never recover. The conclusion? It is indeed Lonely at the Top.
  • He's Dead, Jim: The film opens with Kane's hand falling and dropping the snow globe.
  • He Who Fights Monsters: Kane, who envisions himself as a crusader for the little guy against corruption, becomes a cynic and a reactionary.
  • High Hopes, Zero Talent: Susan Alexander gets put out on a huge opera debut by Kane. While her voice may be pleasant for something singing in the shower, she is not cut out for opera in any way.note  Her vocal teacher loudly proclaims she is unteachable and more or less facepalms every time she sings. Kane won't listen to Susan, the instructor, or every newspaper critic in America and insists she keeps going on stage. Welles later regretted this part of the film, as people assumed she was based on screen actress and William Randolph Hearst's paramour Marion Davies, who Welles (and many others) felt was actually a fairly talented actress and a nice person. Marion Davies was well-suited to romantic comedies; unfortunately, Hearst saw her as the second coming of Mary Pickford and kept putting her in lavish, sentimental dramas that didn't take advantage of her talents.
  • Hitler Cam:
    • Orson Welles was the Trope Codifier. Refers to the practice of shooting a solitary figure from a slightly lower angle. This magnifies the figure's height and presence in the mind of the viewer. Greatly popularized by the film.
    • In the newsreel, a ground level shot features Kane with Adolf Hitler played by Carl Ekberg, a Norwegian-born actor who would portray Hitler in several other movies, in addition to portraying German soldiers among other roles throughout his career.
  • Hollywood Tone-Deaf: Averted with Susan Alexander. To get the effect of a realistically overmatched singer, Welles got a professional alto opera singer and had her sing a soprano part, so yes, the actress who played Susan Alexander can sing, but doesn't have much range.
  • How We Got Here: The film starts with Kane's death. Thompson's investigation then serves as the framework for telling Kane's life story, which is then told in roughly chronological order.
  • I Am Not What I Am Not: Strangely, two characters come to terms with the fact that they can’t be the men they once wanted to be when they are before their In-Universe Catharsis.
    • When he is forced to give up the control of his empire, Kane reflects that his advantages had stolen his chance at true greatness.
      Kane: You know, Mr. Bernstein, if I hadn't been very rich, I might have been a really great man.
      Thatcher: Don't you think you are?
      Kane: I think I did pretty well, under the circumstances.
      Thatcher: What would you like to have been?
      Kane: Everything you hate.
    • When 'Boss' Jim W. Gettys tries to Black Mail Kane, he admits that even he, the archetype of the Sleazy Politician, has more standards than Kane.
      Kane: In case you don't know, Emily — this — this gentleman [Kane puts a world of scorn into the word] — is —
      'Boss' Jim W. Gettys: I'm not a gentleman, Mrs. Kane, and your husband is just trying to be funny calling me one. I don't even know what a gentleman is. [Tensely, with all the hatred and venom in the world] You see, my idea of a gentleman, Mrs. Kane — well, if I owned a newspaper and if I didn't like the way somebody else was doing things — some politician, say — I'd fight them with everything I had. Only I wouldn't show him in a convict suit, with stripes — so his children could see the picture in the paper. Or his mother. [He has to control himself from hurling himself at Kane] It's pretty clear — I'm not a gentleman.
  • I Coulda Been a Contender!: Inverted Trope by Kane, when he is forced to give up the control of his empire. Hardly a nobody. Very disillusioned, he reflects that it was his advantages that denied him his chance at true greatness:
    Charles Foster Kane: You know, Mr. Bernstein, if I hadn't been very rich, I might have been a really great man.
    Thatcher: Don't you think you are?
    Charles Foster Kane: I think I did pretty well under the circumstances.
    Thatcher: What would you like to have been?
    Charles Foster Kane: [Death Glare] Everything you hate.
  • I Just Want to Be Loved: This is Kane's main motivation. Deconstructed, as, despite how innocuous a motivation it seems, it makes him a Jerkass — he wants to be loved, but on his own terms, and he doesn't understand that it just doesn't work that way.
    Leland: He married for love. Love. That's why he did everything. That's why he went into politics. It seems we weren't enough, he wanted all the voters to love him too. Guess all he really wanted out of life was love. That's Charlie's story, how he lost it. You see, he just didn't have any to give. Well, he loved Charlie Kane of course, very dearly, and his mother, I guess he always loved her.
  • I Just Want to Have Friends: Kane ultimately drives away all his friends with his egotistical personality and self-centeredness, becoming Lonely at the Top.
  • Impoverished Patrician: Leland is described as coming from an old, rich family where one day the old man shoots himself and they discover they have nothing.
  • I Need a Freaking Drink:
    • Jed Leland needs several to muster the courage to write an honest review of a Susan Alexander performance. He gets so plastered he can't even finish it.
    • Earlier, Leland looks at the headline from Kane's own paper announcing his defeat, and then walks straight into a saloon. This seems to be the start of his drinking problem.
  • Intrepid Reporter: Jerry Thompson, the reporter who tries to find out the meaning of "Rosebud". And Kane himself during his younger years.
  • I Take Offense to That Last One!:
    Charles Foster Kane: You long-faced, overdressed anarchist.
    Leland: I am not overdressed!
  • It's All About Me: Kane's mission in life is to be loved on his own terms. Lampshaded spectacularly:
    Kane: [Pleading] Don't go, Susan. You mustn't go. You can't do this to me.
    Susan: I see. So it's you who this is being done to. It's not me at all. Not how I feel. Not what it means to me. [Laughs] I can't do this to you? [Odd smile] Oh, yes, I can.
  • It's All Junk: Kane is an obsessive collector of everything, who then treats people like objects and dies a lonely old man, surrounded by glorified junk in a ridiculously opulent estate. The last line of the film is, in fact, "Toss that junk."
    • And ironically, the only piece of "junk" that meant something really important to Kane is burned up because it can't be sold.
  • It Was His Sled: invoked Despite being the Trope Namer, the sled is a MacGuffin. As Jerry muses over a box of jigsaw puzzle pieces, "Rosebud" is only a piece of the puzzle. (In addition, there were two sleds, each representing a time in his life. The second sled was "Crusader".)
  • It Will Never Catch On:
    • Kane didn't believe, in 1935, that there would be a war. World War II started four years after that.
    • "I've got to make the New York Inquirer as important to New York as the gas in that light." Of course, this scene takes place shortly before gaslights became obsolete.
  • Ivy League for Everyone: Kane is said to have attended and been thrown out of Harvard, Yale, Princeton, and Cornell.
  • Jekyll & Hyde: Kane tells Thatcher early on, "The trouble is, you don't realize that you're talking to two people," referring to himself as both a man of wealth and as a man of the people. One of the main points of the movie is the internal war between those two sides. It can be argued that both sides lose by the end of the movie.
  • Jerkass: The movie amounts to showing how Charles Foster Kane turned into a big piece of shit, lost childhood or not.
  • Jerkass Has a Point: When browbeating Kane about his sensationalistic headlines about corruption in the local railway business, Thatcher calls out Kane's hypocrisy, pointing out that Kane himself owns a huge amount of stock in the company his papers are condemning. Kane blithely agrees, noting that his stock is preferred, i.e., less risky than common stock if the company gets into trouble. Thatcher also notes that Kane's newspaper is losing a ton of money. Kane grins and agrees, then reminds Thatcher that he has so much money that the paper can last sixty years. But then he's forced to sign away the paper less than forty years later.
  • Jump Scare: The screeching cockatoo near the climax of the film. Quite possibly the best non-horror example in cinema history.
  • Large Ham: "Siiiiing Siiiiiing!" It works, though.
    • Mr. Exposition during the introductory voice-over could count, as well.
  • The Law of Conservation of Detail: Playing with this trope is arguably the main conceit: it's a movie about the impossibility of finding the right details. "Rosebud" is an example, as is the famous "girl in the white dress" speech.
  • Let the Past Burn: The ending is a loose example, differing only in that the whole house isn't burnt.
  • Lonely at the Top: As a core theme. One of the reasons why he tries to desperately cling to his wife, and eventually comes true when she leaves him. It's also the meaning behind "Rosebud": his life, though successful, was so unhappy that the time he was happiest was when he was a child and playing with his sled.
  • Love Hungry: As desperate as Kane is for love, he is too selfish to understand that one cannot force others to love them. It just doesn't work that way.
  • MacGuffin: The identity of "Rosebud". It never gets obtained ... by the characters, that is...
  • Malevolent Mugshot: Regardless of whether one views the titular character as a Villain Protagonist, this image certainly counts as the Trope Maker in film, beating 1984 by seven years. Since the point of the film is to tell Kane's story and let the audience decide if he is a hero or villain (or both), it is also an Unbuilt Trope.
  • The Man Is Sticking It to the Man: Discussed in the film, where Charles Foster Kane, heir to the sixth largest private fortune, becomes a crusading publisher/editor who takes a progressive platform against wealthy interest holders. Walter Thatcher specifically brings up Charles' attack on the Public Transit Corporation of which he himself is a shareholder, to which Kane responds by noting that a rich man taking the cause of reform might keep communists from doing so:
    Charles: The trouble is, you don't realize you're talking to two people. As Charles Foster Kane who owns 82,364 shares of Public Transit Preferred — see, I do have a general idea of my holdings — I sympathize with you. Kane is a scoundrel. His paper should be closed, a committee formed to boycott him. If you can form such a committee, put me down for a contribution of $1,000. On the other hand, I am the publisher of the Inquirer. As such it's my duty ... I'll let you in on a little secret. It is also my pleasure to see that the working people of this community aren't robbed by a pack of money-mad pirates, just because they have no one to look after their interests. You see, I have money and property. If I don't look after the interests of the underprivileged, somebody else will. Maybe somebody without money or property. That would be too bad.
  • Match Cut: The entire opening sequence. Watch how the light never moves.
    • Also after slapping Susan. Her left eye matches with an eye decoration in the next scene. Hard to catch.
  • Mathematician's Answer:
    Reporter: Mr. Kane, How did you find business conditions in Europe?
    Kane: With great difficulty!
  • Matte Shot: The outside of Xanadu is mostly a series of matte paintings.
  • Memento MacGuffin: "Rosebud", which partially drives the plot.
  • A Minor Kidroduction: Sort of—we get a glimpse of Kane as he dies and then we see him again in the newsreel, but the story proper starts with eight-year-old Kane.
  • The Mistress: Susan Alexander, before Kane marries her.
  • Mockumentary: Early in the film. Welles was good at these. Kind of an example of Aluminum Christmas Trees. People in the 1940s who were used to seeing the "March of Time" newsreels regularly would have been much more amused by the satire. Possibly the earliest example of an in-movie fake newsreel.
  • Morally Bankrupt Banker: Subverted because Mr. Thatcher isn't shown doing anything evil. Implicitly, Thatcher is a decent (if very conservative) middle-aged banker who did his best while raising Kane ... as The Stoic, in a stage in Kane's life he needed love more than anything. Little wonder Kane grew up to be dysfunctional.
  • Mouthscreen: One of the most iconic examples in film history. The first we see of the title character is a close up of his lips as he says his last word: "Rosebud."
  • Musical Pastiche: Salammbô, the opera in which Susan Alexander stars, is Bernard Herrmann's pastiche of French grand opéra à la Jules Massenet. Pauline Kael suggested that it was originally supposed to be a real Massenet opera, Thaïs; but Herrmann angrily refuted it when Kael said it was a compromise because they couldn't get the rights:
    Bernard Herrmann: Pauline Kael has written in The Citizen Kane Book (1971), that the production wanted to use Massenet's "Thais" but could not afford the fee. But Miss Kael never wrote or approached me to ask about the music. We could easily have afforded the fee. The point is that its lovely little strings would not have served the emotional purpose of the film. I wrote the piece in a very high tessitura, so that a girl with a modest voice would be completely hopeless in it.note 
  • Mythology Gag: Also a Shout-Out. In one scene dated 1935, Kane tells a reporter not to believe everything he hears on the radio. Considering who is playing Kane that is true.
  • Name of Cain: Charles Kane.
  • Newsreel: This has one of the earliest (if not the earliest) examples of an in-movie fake newsreel. Furthermore, Welles had RKO use their own newsreel department to create it to make it look authentic.
  • Nice Job Breaking It, Hero: Kane's final attempt at reconciling with Susan almost works out, until the Wounded Gazelle Gambit backfires on him:
    Kane: Susan. Please don't go. No. Please, Susan. From now on, everything will be exactly the way you want it to be, not the way I think you want it, but — your way. Don't go, Susan. You mustn't go. You can't do this to me.
    Susan: I see. So it's you who this is being done to. It's not me at all, not how I feel. Not what it means to me. [Laughs] I can't do this to you? Oh, yes, I can.
  • No Antagonist: Kane brought his miserable life upon himself.
  • No Celebrities Were Harmed: Kane was probably based on William Randolph Hearst, though Hearst was not pleased with the allusion.
  • No Party Given: Justified; Kane is running for governor as an independent. Boss Gettys' political affiliation isn't mentioned. New York State had extremely corrupt Democratic and Republican political machines during that period.
  • Oh, Crap!: Kane displays a very subtle one when his first wife Emily tells him she is going to investigate the house of Kane's mistress, Susan Alexander, after receiving an anonymous tip about it.
  • Old, Dark House: Xanadu is often presented this way.
  • Old Media Are Evil: The film is one of the earliest criticisms of Old Media. While Kane imagines himself as a crusading reformer and at least when he was young he apparently really was, he was also an irresponsible yellow journalist as well as a warmonger.
    • New Media Are Evil: The film is also very critical of newer forms of media. Especially newsreels, which are shown to be just as constructed, story-driven, and biased as anything else and certainly not objective.
  • Ominous Fog: The opening sequence where the camera zooms into Xanadu is made ominous by the ominous music, but also by the fog shrouding the grounds.
  • The Oner: Long shots zooming into Susan's café through a skylight and up a ladder at the opera.
  • One Steve Limit: Averted. The film has characters named Jim Gettys and Jim Kane (Charles' father).
  • The One That Got Away:
    Mr. Bernstein: A fellow will remember a lot of things you wouldn't think he'd remember. You take me. One day back in 1896, I was crossing over to Jersey on the ferry and as we pulled out there was another ferry pulling in and on it there was a girl waiting to get off. A white dress she had on. She was carrying a white parasol. I only saw her for one second. She didn't see me at all, but I'll bet a month hasn't gone by since that I haven't thought of that girl.
  • One True Love: Charles and Susan really were meant for each other. She loved him for who he is, but Charles was incapable of understanding that he didn't need to buy her love, nor that they should seclude themselves away from society. She leaves him because he doesn't know how to return her love. In fact, if Charles ever admitted that love is a two-way street, she'd return in a heartbeat. As one of her friends said, any other day but Charlie's death, she enjoyed talking about him.
  • Parents as People: Kane's mother seems like she truly thought she was doing what was best for her son by sending him away to be raised in wealth and prosperity (and away from his implied physically abusive father) even if it meant she couldn't be close to him anymore, not realizing that she set him down a very lonely path that ended with him Dying Alone.
  • Patriotic Fervor: "I am, have been, and will always be, an American."
  • Percussive Therapy: After Susan leaves him Kane tears her room apart.
  • Playing Both Sides: A young Kane invests in the Public Transit Company while also attacking it in the Inquirer'. He lampshades it when Thatcher comes to visit.
  • Please, Don't Leave Me: When Susan decides that she has had enough of Kane and his ego and wants to walk out on him, Kane desperately begs her to stay. During this, he inadvertently tips her off that he doesn't truly realize what he has done wrong by including a "You can't do this to me!" in his plea, making her even more resolute to leave him.
  • Plot Hole: Legend has it that someone once asked Welles how anyone could have known Kane's last words if he died alone. Welles supposedly paused for a long time and then said, "Don't you ever tell anyone of this." However, Raymond the butler later says he heard the word, implying that the scene was shot from his point of view.
  • Plot-Triggering Death: The plot is kick-started by Kane's death.
  • Popcultural Osmosis Failure: When many films are said to be "the Citizen Kane of horror/comedy/action" or someone says "[Bad or mediocre movie] is Citizen Kane compared to [worse movie]," folks get the idea that Citizen Kane is a great movie. Many people stop there.
  • Posthumous Character: Charles Foster Kane, his wife and son.
  • Powerful and Helpless: All of Charles Foster Kane's wealth and power can't stop the world from finding out about his adultery, which kills his political career. In fact one of the overarching themes of the film is that all of Kane's wealth and power fail to gain him the love of others, which is the one thing he truly wants and never really gets.
  • Pretty in Mink: Emily and Susan naturally wore a few furs.
  • Protagonist Journey to Villain: Charles Foster Kane, obviously. He turns from an idealistic muckraker to a mogul whose life is slowly spiraling out of control.
  • Protagonist Title
  • Punctuated! For! Emphasis!: While Kane is finishing Leland's review:
    Kane: Hello, Jedediah.
    Leland: Hello, Charlie. I didn't know we were speaking...
    Kane: Sure, we're speaking, Jedediah ... [Forcefully hits carriage return on his typewriter, ka-CHUNK] … you're fired.
  • "Rashomon"-Style: An Unbuilt Trope since it preceded Kurosawa's film by several years (and Kurosawa adapted a Japanese short story that was published years before Kane's release).
    • Each narrator has a view of Kane based on their experiences and relationships with him. Notably, Bernstein dismisses Thatcher as an Unreliable Narrator, but later Jed Leland says that Bernstein's story is a Rose-Tinted Narrative. Thatcher's narrative from his diary presents Kane as a resentful Ungrateful Bastard who never cared for the trouble and headaches the young man gave him, and who still backbites him even when both of them are old. Bernstein presents Kane largely from his youthful days at the Inquirer while passing over his more inconsistent and erratic middle part of his life, and most notably leaving out the part that he took Kane's side in his fallout with Leland and trying to hide from the reporter the fact that he and Leland aren't on speaking terms with one another. Leland and Susan have stories that don't conflict with another so much, though we do see Another Side, Another Story in that we see Leland present himself as a critic trying to be honest about his opinions and intentions while in Susan's narrative, we see Leland in the audience bored during the performance and making cut out papers to pass the time, puncturing some holes in his pretenses.
    • The opening newsreel is a very subtle example. The newsreel shows a brief glimpse of Kane after his wedding to Susan attacking newspapers with a Kane and coming off as a coot and eccentric in his later years. When that scene is revisited again we see the footage continue where after Kane finds out one of the reporters is from the Inquirer, he becomes all smiles and welcoming, and happily goes off on his second honeymoon, implying that his second marriage could have turned out all right after all.
  • Real After All: After Thompson Gave Up Too Soon to find what Rosebud is, the audience gets The Reveal: It Was His Sled.
  • Realistic Diction Is Unrealistic: Averted. Characters regularly talk over one another.
  • "The Reason You Suck" Speech:
  • Red Scare: Thatcher accuses Kane of being a communist near the beginning of the movie. A politician addressing a crowd of workers however accuses Kane of being fascist, and we see Kane hanging out with Hitler and Mussolini while stating "there will be no war". Essentially Kane is a demagogue who uses politics to his advantage and ego.
  • Retraux: Editor Robert Wise scratched the "newsreel" with sandpaper to make the "old" footage look old.
  • The Reveal: "Rosebud" was Kane's sled.
  • Rich Recluse's Realm: One of the most famous examples of this trope: after ruining his political career and making himself a laughingstock, Kane orders the construction Xanadu as a kiss-and-make-up gift for his second wife, Susan. It's so vast it actually consists of an artificial mountain and over forty-nine thousand acres of grounds, and once there, Kane settles in so well that he almost never leaves the building except on business and the occasional picnic on the Everglades, gradually becoming a total recluse once Susan leaves him. The building itself becomes a reflection of himself: big and impressive, but ultimately empty. For good measure, it's never officially completed and by the time of Kane's death, Xanadu has already begun collapsing into disrepair.
  • Roadside Wave: This is how Kane meets Susan Alexander; she sees him splattered when a carriage passes by.
  • Roman à Clef: Welles denied this, but Hearst, one of the Real Life inspirations for Kane, believed this.
    • The film actually attempts to avert this by having Hearst mentioned by name in an early scene (the reporters discussing the newsreel), establishing Kane as a different individual.
    • But also shoots itself in the foot in the first scene with Kane as played by Orson Welles, in which he says: "You provide the prose poems, I'll provide the war". Substitute "pictures" for "prose poems", and this is a word-for-word quote of something Hearst himself said to a photographer.
    • Herman Mankiewicz, who came up with the story, was a frequent guest at San Simeon (aka Hearst Castle). As much as Welles sometimes denied it, much of the story clearly was based on Hearst's life. Some similarities between the real and fictional men:
      • Both were muckracking newspaper publishers who egged on the Spanish-American War, as noted above.
      • Both had a family fortune that came from mining precious metals (Hearst's father George struck it rich with the Comstock Lode).
      • Both had huge media empires, which wound up getting downsized to some extent in the Great Depression.
      • Both had estates of staggering size (San Simeon/Xanadu).
      • Both were failed independent candidates for governor of New York (Hearst actually ran for office several times and served two terms as a Democratic congressman from New York).
      • Both had beautiful young mistresses and both bankrolled their mistresses' show business careers.
      • Marion Davies and Susan Alexander were both alcoholics with a fondness for crossword puzzles. Furthermore, both are considered reasonably talented in light entertainment, but were shoehorned into more serious artistic fields that were considered seriously out of their depth.
      • Of course there were many differences between Kane and Hearst as well, which helped Welles maintain Plausible Deniability. Hearst's parents never abandoned him (in fact this more closely resembles Welles, who was orphaned at the age of 15). He never married Davies; instead she remained The Mistress and stayed with Hearst until his death.
      • Herman Mankiewicz's original script, American, included even more overt parallels to Hearst's life, showing that Kane's opponents stole the gubernatorial election by dumping ballots in the East River and a scene modeled after the death of Thomas Ince.note  Welles removed these scenes after one of Hearst's biographers sued the filmmakers for copying the incidents from his book.
  • Rule of Symbolism: Some critics think Kane stretches the Willing Suspension of Disbelief in order to include symbolic elements. It certainly is packed with symbols. For example:
    • Rosebud Kane's childhood sled was the last thing Kane was holding onto on the day Mr. Thatcher came to take him from his parents. Rosebud represents Kane's lost childhood, along with everything else he lost when he moved away from home.
    • When Charles turned 25, he takes full control of his fortune and tells Mr. Thatcher through writing that he's not interested in his primary sources of income like mines and oil wells. But he was interested in the newspaper known as The Inquirer. At which point, he almost completely ignores the rest of his fortune to focus on running his newspaper and using it to critique the wealthy class of America — which he is also a part of. Initially, The Inquirer represented Kane's young ambitious dreams of making a real difference in the world and helping out poor people, but once Kane's corruption and ego get the best of him, he drops his good intentions and tries to tell them what he wants them to think, meaning the newspaper also helps chart Kane's Protagonist Journey To Villainy. Eventually, Kane loses his newspapers in the Great Depression which just about spells the end of his young idealism.
    • Rather than spend a lot of his money on investments and things that would make him even richer, Kane chose to buy up a bunch of statues. He even loses a huge part of his fortune buying those statues. Kane's statue collection represents who Kane wants his people to be, which is objects that he can look at and that will do whatever he wants them to.
    • Our title character, is eerily similar to William Randolph Hearst in terms of how things went down. They both ran newspaper tycoons corruptly, they both built their own private estates, they both and they both had a great love interest who they tried to boost up beyond her talents. Not to mention the real-life story of the battle between Hearst and Welles.
  • Scenery Porn: The sets (the political rally, the newspaper office, the library, Xanadu) are all lavish, grandiose ... and empty like the main character.
  • Seemingly Profound Fool: At the beginning of the movie there is a scene where a Corrupt Corporate Executive reunion claims that Kane is one of the Dirty Communists. It follows a scene where someone at a workers’ rally declares Kane a fascist, and then we have Kane’s own declaration that he is an American. This shows Kane as a human Rorschach test: Other people project what they most fear onto him, and will insist on their interpretation of his words and deeds with a desperate will no matter how contradictory they are. The three interpretations are wrong, because the Dirty Communists, the fascists, and even the patriotic nationalist all believe in something bigger than themselves. The movie shows us that Charlie Foster Kane is only for Charlie Foster Kane.
  • "Shaggy Dog" Story: The Framing Device ends with Thompson not only giving up to find what Rosebud means, but admiting that knowing it will not explain Kane.
    • Kane's dream was a Tragic Dream and so, it was never achieved.
  • Single-Issue Psychology: All of Kane's problems result from him not knowing how to love due to being taken from his parents as a child. At his mother's urging, because his father was abusive towards him. This does not make it better, however. Welles when dismissing the story's gimmick as "Dollar Book Freud" regretted it because of this implication, he didn't believe in Single-Issue Psychology, and used "Rosebud" as a deliberate "Shaggy Dog" Story to hook the movie around.
  • Slimeball: In one sense, Kane is revealed to be something of a slimeball by his best friend after Kane's failed election campaign, who observes: "You just want to persuade people that you love 'em so much that they oughta love you back!"
  • Slow Clap: After the disastrous operatic debut of his wife Susan, Kane stubbornly stands up and does a Slow Clap; the rest of the audience begrudgingly follows suit.
  • Small Role, Big Impact: Mary Kane, Charles' mother, only appears in one sceneinvoked throughout the film, but she's single-handedly responsible for sending Charles away to live with Thatcher and most of his wealth and fame.
  • Snow Means Death: Not a straight example, but the snow globe should get an honorable mention.
  • Soundtrack Dissonance: This is a pretty sad film, but don't worry, the end credits should pick you right up.
  • Spinning Paper: A standard trope of early 1930s B-Movies, especially in films dealing with organized crime. It went out of style at around the time The Hays Code was adopted; any use after the mid-1930s is a deliberate invocation of the trope as tribute and parody. Citizen Kane is one of these. Making later parodies parody parodies.
  • Stage Mom: At their first meeting Susan tells Kane it was really her mother's ambition for her to be an opera singer.
  • Staggered Zoom: It's a lot slower-paced than most staggered zooms, but the opening sequence still qualifies, being a series of cuts showing Xanadu as the camera creeps closer.
  • Starts with Their Funeral: The film start with Kane's death, and then moves onto a newsreel about his life, before diving right into the flashbacks.
  • Stock Footage: The film contains a lot of this. For example, the newsreel has a scene where a man speaks to a political rally, denouncing Kane as a fascist. The crowd was simply stock footage and the man was an actor, filmed in a low-angle shot to hide the fact that no crowd was present.
  • The Stoic: Mr. Thatcher seems to be very distant from his young ward ... and everyone else, really.
  • Strawman News Media: Not at first but the Inquirer eventually becomes a Type 1, serving basically as Kane's mouthpiece.
  • Table Space: A very clever use of this trope to illustrate the deterioration of Kane's first marriage in a brief montage. The Kanes are shown at a small breakfast table being intimate and affectionate. We see snippets of arguments at other breakfasts. Then the scene ends with the Kanes dining in silence at opposite ends of a long table.
  • Take That!:
    • Co-writer Herman J. Mankiewicz was a regular invitee to Hearst's San Simeon until he earned their disfavor and was kicked out. Many of the satirical details of Kane come from his own resentment and desire to mock Hearst.
    • In an in-universe Take That!, Emily is reading The Chronicle, Kane's biggest rival newspaper.
    • Another in-universe example: Kane finishes the bad review Leland began, and instead of cleaning it up (as Leland assumed he would), he keeps the same vitriolic negativity. Bernstein snarks, "That'll show you."note 
  • Tantrum Throwing: Upon his wife leaving him, Kane goes in a room and smashes/throws everything he sees. He stops at the crystal ball that Susan owned (and reminded him of his mother), making him utter, "Rosebud."
  • This Cannot Be!:
    Kane: Susan. Please don't go. No. Please, Susan. From now on, everything will be exactly the way you want it to be, not the way I think you want it, but — your way. You mustn't go. You can't do this to me!
    Susan: I see. It's you that this is being done to! It's not me at all. Not what it means to me. I can't do this to you? Oh, yes, I can.
  • Time Passes Montage: One of the most famous: Kane and his first wife sitting at breakfast. Each shift into the future has their conversation becoming more and more hostile, until the final scene in which they don't say a word — he reads his newspaper, and she reads a rival newspaper.
  • Time-Shifted Actor: Being a fictionalized biopic, the film presents Kane in all ages. All of them are Orson Welles in makeup, except for eight-year-old Kane, played by Buddy Swan.
  • Trade Your Passion for Glory: Kane, a young crusading newspaper owner, becomes "The Man" in his later life.
  • Tragedy: Kane ends up dying alone and unloved thanks to his narcissism.
  • Tragic Dream: Kane's dream is to be loved. Unfortunately, that dream is available to everyone but him: given the way he was raised, Charlie is used to paying for everything with money, and the idea of investing time and sacrificing his own interests for a relationship is absolutely beyond his comprehension.
  • Tragic Hero: Kane, lampshaded by Leland.
    Leland: That's all he ever wanted out of life ... was love. That's the tragedy of Charles Foster Kane. You see, he just didn't have any to give.
  • Unbuilt Trope: It Was His Sled is a Trope Namer, but the sled is actually the unbuilt trope of the MacGuffin, long before Alfred Hitchcock coined the term.
  • Understatement:
    Kane: [To Susan] I run a couple of newspapers, what do you do?
  • Unrequited Love: Susan to Charlie. She never stopped loving him, ever. She left simply because it was the only way she could express her own feelings. Had Charlie said the right words, she'd have returned to him in a heartbeat.
    Manager: Why, until he died, she'd just as soon talk about Mr. Kane as about anybody.
  • Used to Be a Sweet Kid: Charlie was once a happy, innocent child who was content with what he had. Unfortunately, his aloof upbringing under Mr. Thatcher robbed him of that, turning him into the cynical, media mougel he was known as by most. His desire to recapture his childlike innocence was part of his desire, to the point that he even tracked down and regained the sled he played with as a kid. Unfortunately, not even that was able to make him happy again.
  • Video Credits: A clip of each major character is shown in the credits, except Kane himself.
  • Vocal Range Exceeded: Susan Alexander can't hack being an opera singer. Instead of Hollywood Tone-Deaf, Welles got a professional alto to sing a soprano part.
  • War for Fun and Profit: Kane does this in order to sell newspapers. Based on the manipulations of real-life media mogul William Randolph Hearst:
    "Dear Wheeler: You provide the prose poems. I'll provide the war."
  • Wham Shot: The shot near the end showing the name "Rosebud" on Kane's old sled.
  • Whip Pan: These are used in the breakfast table montage showing the deterioration of Kane's first marriage.
  • White-Dwarf Starlet: Susan Alexander is a bit out of the ordinary: Now she's running on the fumes of her former notoriety, but initially she was pushed into the limelight somewhat against her will and found stardom humiliating.
  • Wide-Eyed Idealist: Kane started off as one, and was moderately successful as such, exposing corruption successfully and ascending the ranks in journalism.
  • Worthless Treasure Twist: "Rosebud" is a "Lost Heirloom". And it gets tossed into the incinerator along with the wealthy protagonist's other worldly possessions. Nobody in the story ever finds out what his lost love/lost treasure "Rosebud" meant, though the audience gets the reveal.
  • Would Hit a Girl: Susan screams at Kane, at a picnic with their guests within earshot, that he doesn't really care about her and never gave her anything she wanted. Finally he gets angry and slaps her.
    Susan: Don't tell me you're sorry.
    Kane: I'm not sorry.
  • Yes-Man: Bernstein, who always supports Kane and remains devoted to him even after people like Leland and Susan become disillusioned.


Video Example(s):


The Truth about Rosebud

The characters never learn what "Rosebud" means, but we, the audience, do.

How well does it match the trope?

5 (8 votes)

Example of:

Main / WhamShot

Media sources: