Legacy of Citizen Kane

During World War II, Citizen Kane was not seen in most European countries. It was shown in France for the first time on July 10, 1946, at the Marbeuf theater in Paris. Initially most French film critics were influenced by the negative reviews of Jean-Paul Sartre in 1945 and Georges Sadoul in 1946. At that time many French intellectuals and filmmakers shared Sartre's negative opinion that Hollywood filmmakers were uncultured. Sartre criticized the film's flashbacks for its nostalgic and romantic preoccupation with the past instead of the realities of the present and said that "the whole film is based on a misconception of what cinema is all about. The film is in the past tense, whereas we all know that cinema has got to be in the present tense." André Bazin, a then little-known film critic working for Sartre's Les Temps modernes, was asked to give an impromptu speech about the film after a screening at the Colisée Theatre in the autumn of 1946 and the politically Marxist and anti-Hollywood beliefs of most French film critics at that time. One of the first critics to defend motion pictures as being on the same artistic level as literature or painting, Bazin often used the film as an example of cinema as an art form ==Re-evaluation==

By 1942 Citizen Kane had run its course theatrically and, apart from a few showings at big city arthouse cinemas, it largely vanished and both the film's and Welles's reputation fell among American critics. In 1949 critic Richard Griffith in his overview of cinema, The Film Till Now, dismissed Citizen Kane as "... tinpot if not crackpot Freud." Carringer considers Sarris's essay as the most important influence on the film's reputation in the US. In the decades since, its critical status as one of the greatest films ever made has grown, with numerous essays and books on it including Peter Cowie's The Cinema of Orson Welles, Ronald Gottesman's Focus on Citizen Kane, a collection of significant reviews and background pieces, and most notably Kael's essay, "Raising Kane", which promoted the value of the film to a much wider audience than it had reached before. The British magazine Sight & Sound has produced a Top Ten list surveying film critics every decade since 1952, and is regarded as one of the most respected barometers of critical taste. Citizen Kane was a runner up to the top 10 in its 1952 poll but was voted as the greatest film ever made in its 1962 poll, retaining the top spot in every subsequent poll until 2012, when Vertigo displaced it. The film has also ranked number one in the following film "best of" lists: Julio Castedo's The 100 Best Films of the Century, Cahiers du cinéma's 100 films pour une cinémathèque idéale, Kinovedcheskie Zapiski, Time Out magazine's Top 100 Films (Centenary), The Village Voices 100 Greatest Films, and The Royal Belgian Film Archive's Most Important and Misappreciated American Films. Roger Ebert called Citizen Kane the greatest film ever made: "But people don't always ask about the greatest film. They ask, 'What's your favorite movie?' Again, I always answer with Citizen Kane." In 1998, Time Out conducted a reader's poll and Citizen Kane was voted 3rd best film of all time. On February 18, 1999, the United States Postal Service honored Citizen Kane by including it in its Celebrate the Century series. The film was honored again on February 25, 2003, in a series of U.S. postage stamps marking the 75th anniversary of the Academy of Motion Picture Arts and Sciences. Art director Perry Ferguson represents the behind-the-scenes craftsmen of filmmaking in the series; he is depicted completing a sketch for Citizen Kane. Citizen Kane was ranked number one in the American Film Institute's polls of film industry artists and leaders in 1998 and 2007. "Rosebud" was chosen as the 17th most memorable movie quotation in a 2005 AFI poll. The film's score was one of 250 nominees for the top 25 film scores in American cinema in another 2005 AFI poll. In 2005 the film was included on Times All-Time 100 best movies list. In 2012, the Motion Picture Editors Guild published a list of the 75 best-edited films of all time based on a survey of its membership. Citizen Kane was listed second. In 2015, Citizen Kane ranked 1st on BBC's "100 Greatest American Films" list, voted on by film critics from around the world. ==Influence==

Citizen Kane has been called the most influential film of all time. Richard Corliss has asserted that Jules Dassin's 1941 film The Tell-Tale Heart was the first example of its influence and the first pop culture reference to the film occurred later in 1941 when the spoof comedy ''Hellzapoppin''' featured a "Rosebud" sled. The film's cinematography was almost immediately influential and in 1942 American Cinematographer wrote "without a doubt the most immediately noticeable trend in cinematography methods during the year was the trend toward crisper definition and increased depth of field." The cinematography influenced John Huston's The Maltese Falcon. Cinematographer Arthur Edeson used a wider-angle lens than Toland and the film includes many long takes, low angles and shots of the ceiling, but it did not use deep focus shots on large sets to the extent that Citizen Kane did. Edeson and Toland are often credited together for revolutionizing cinematography in 1941. Its cinematography, lighting, and flashback structure influenced such film noirs of the 1940s and 1950s as The Killers, Keeper of the Flame, Caught, The Great Man and This Gun for Hire. Akira Kurosawa's Rashomon is often compared to the film due to both having complicated plot structures told by multiple characters in the film. Welles said his initial idea for the film was "Basically, the idea Rashomon used later on," however Kurosawa had not yet seen the film before making Rashomon in 1950. Nigel Andrews has compared the film's complex plot structure to Rashomon, Last Year at Marienbad, Memento and Magnolia. Andrews also compares Charles Foster Kane to Michael Corleone in The Godfather, Jake LaMotta in Raging Bull and Daniel Plainview in There Will Be Blood for their portrayals of "haunted megalomaniac[s], presiding over the shards of [their] own [lives]." The films of Paul Thomas Anderson have been compared to it. Variety compared There Will Be Blood to the film and called it "one that rivals Giant and Citizen Kane in our popular lore as origin stories about how we came to be the people we are." The Master has been called "movieland's only spiritual sequel to Citizen Kane that doesn't shrivel under the hefty comparison". The Social Network has been compared to the film for its depiction of a media mogul and by the character Erica Albright being similar to "Rosebud". The controversy of the Sony hacking before the release of The Interview brought comparisons of Hearst's attempt to suppress the film. The film's plot structure and some specific shots influenced Todd Haynes's Velvet Goldmine. Abbas Kiarostami's The Traveler has been called "the Citizen Kane of the Iranian children's cinema." The film's use of overlapping dialogue has influenced the films of Robert Altman and Carol Reed. Michel Hazanavicius, Michael Mann, Sam Mendes, Jiří Menzel, Paul Schrader, Martin Scorsese, Denys Arcand, Gillian Armstrong, John Boorman, Roger Corman, Alex Cox, Miloš Forman, Norman Jewison, Richard Lester, Richard Linklater, Paul Mazursky, Ronald Neame, Sydney Pollack and Stanley Kubrick. Yasujirō Ozu said it was his favorite non-Japanese film and was impressed by its techniques. François Truffaut said that the film "has inspired more vocations to cinema throughout the world than any other" and recognized its influence in The Barefoot Contessa, Les Mauvaises Rencontres, Lola Montès, and 8 1/2. Truffaut's Day for Night pays tribute to the film in a dream sequence depicting a childhood memory of the character played by Truffaut stealing publicity photos from the film. Numerous film directors have cited the film as influential on their own films, including Theo Angelopoulos, Luc Besson, the Coen brothers, Francis Ford Coppola, Brian De Palma, John Frankenheimer, Stephen Frears, Sergio Leone, Michael Mann, Ridley Scott, Martin Scorsese, Bryan Singer and Steven Spielberg. Bollywood film director and producer Vidhu Vinod Chopra expressed his thoughts on Citizen Kane in his book Unscripted: Conversations on Life and Cinema. He said, 'Let's say you are blind and you have never seen a beautiful sunset in your entire life and suddenly you get an eyesight and you see a sunset. Citizen Kane was like that for me. I was blind. Before that, I had mostly seen only Hindi movies'. While I was watching Citizen Kane, I asked myself, "If I died and gone to the heaven of cinema". Satyajit Ray always regretted not seeing Citizen Kane when it was released in 1941 and screened at the biggest cinema theatre in Calcutta. At that time, he was in Santiniketan, studying Indian arts and history. He eventually watched the film after becoming a film director and admired it greatly. Ingmar Bergman disliked the film and called it "a total bore. Above all, the performances are worthless. The amount of respect that movie has is absolutely unbelievable!" William Friedkin said that the film influenced him and called it "a veritable quarry for filmmakers, just as Joyce's Ulysses is a quarry for writers." The film has also influenced other art forms. Carlos Fuentes's novel The Death of Artemio Cruz was partially inspired by the film and the rock band The White Stripes paid unauthorized tribute to the film in the song "The Union Forever". ==Film memorabilia==

In 1982, film director Steven Spielberg bought a "Rosebud" sled for $60,500; it was one of three balsa sleds used in the closing scenes and the only one that was not burned. Spielberg eventually donated the sled to the Academy Museum of Motion Pictures as he stated he felt it belonged in a museum. After the Spielberg purchase, it was reported that retiree Arthur Bauer claimed to own another "Rosebud" sled. In early 1942, when Bauer was 12, he had won an RKO publicity contest and selected the hardwood sled as his prize. In 1996, Bauer's estate offered the painted pine sled at auction through Christie's. The sled was sold to an anonymous bidder for $233,500. Welles's Oscar for Best Original Screenplay was believed to be lost until it was rediscovered in 1994. It was withdrawn from a 2007 auction at Sotheby's when bidding failed to reach its estimate of $800,000 to $1.2 million. Mankiewicz's Oscar was sold at least twice, in 1999 and again in 2012, the latest price being $588,455. In 1989, Mankiewicz's personal copy of the Citizen Kane script was auctioned at Christie's. The leather-bound volume included the final shooting script and a carbon copy of American that bore handwritten annotations—purportedly made by Hearst's lawyers, who were said to have obtained it in the manner described by Kael in "Raising Kane". Estimated to bring $70,000 to $90,000, it sold for a record $231,000. In 2007, Welles's personal copy of the last revised draft of Citizen Kane before the shooting script was sold at Sotheby's for $97,000. A second draft of the script titled American, marked "Mr. Welles' working copy", was auctioned by Sotheby's in 2014 for $164,692. A collection of 24 pages from a working script found in Welles's personal possessions by his daughter Beatrice Welles was auctioned in 2014 for $15,000. In 2014, a collection of approximately 235 Citizen Kane stills and production photos that had belonged to Welles was sold at auction for $7,812. In 2025, a red wooden sled marked with the name “Rosebud” was sold at Heritage Auctions for $14.75 million. The artifact is one of the sleds used in the making of the Citizen Kane. ==Notes==