Final Day! Tuesday, September 11
$7 Member $12.50 Regular
Breathtaking new DCP restoration!
(1941, Orson Welles) From its Gothic opening at looming Xanadu, through its conflicting accounts of a news magnate’s public rise and private fall, to its legendary final shot, this is the most electrifying debut in screen history – acting and directing – and an acknowledged influence and inspiration to the most disparate cineastes. As brilliant and startling today as in 1941, it remained both Welles’s masterpiece and his nemesis. Approx. 119 mins. DCP.
“Citizen Kane still seems richer, bolder, more spectacularly alive than any other film of the studio-system era. Regardless of how many times you've seen Orson Welles' 1941 masterpiece, it always feels like the first time”
– Owen Gleiberman
“In the last decade I’ve watched this first feature many times, and each time, it reveals new treasures. Clearly, no single film is the greatest ever made. But if there were one, for me Kane would now be the strongest contender, bar none”
– Geoff Andrew
“Orson Welles was the most interesting, complicated and tricky person who ever picked up a movie camera. Part of that antipathy to dullness is in the way he did so many other things – he was radio and theatre, bull-fighting and cheap wine, he was a magician and a would-be politician, he was father and husband, enormous but beautiful, he had the most sincere voice as well as the most fraudulent. He was lovable and awful. And that bundle of contradictions energizes Charles Foster Kane as much as it does George Orson Welles.”
– David Thomson, Sight and Sound
“More fun than any great movie I can think of.”
– Pauline Kael
“The boldest free-hand stroke in major screen production since Griffith and Bitzer were running wild to unshackle the camera."
– Otis Ferguson, The New Republic
“Transcends the newspaper genre, but it also fulfills its implicit promise both by dwelling on the details of the journalistic enterprise and by allowing that enterprise to attain Shakespearean gravity and complexity.”
– A.O. Scott, The New York Times