Citizen Kane 1941

In a grand mansion known as Xanadu, located in the sunny state of Florida, the elderly Charles Foster Kane (Orson Welles) approaches the end of his life, lying on his deathbed. Grasping a snow globe, he mutters the poignant word, “Rosebud,” before slipping away from this world. As the fragile globe shatters on the floor, it signals the end of an era. The following newsreel obituary unfolds the remarkable life story of Kane, who is remembered as an immensely wealthy newspaper publisher with a fascinating yet tumultuous history.

Born into humble beginnings, Kane’s ascent to success is marked by his ownership of a staggering 13 newspapers and radio stations spread across the United States. His extravagant mansion, Xanadu, represents the most lavish private construction project since the era of the pyramids, complete with its own private zoo. Nonetheless, Kane’s life was not without strife; he endured two divorces and nurtured a bitter animosity toward Thatcher—a man who not only served as his legal guardian but also laid claim to Kane’s immense wealth derived from his parents. His political ambitions met a disheartening end due to a scandal involving love, leaving him in solitude, unloved and forsaken in his twilight years.

News of Kane’s passing sends shockwaves through the globe, captivating audiences everywhere. The producer of the newsreel assigns reporter Jerry Thompson (William Alland) the task of unraveling the mystery behind Kane’s last word, “Rosebud.” Driven by curiosity, Thompson embarks on a quest to interview Kane’s friends and acquaintances, beginning with Kane’s second wife, Susan Alexander Kane (Dorothy Comingore). Unfortunately, she is now an alcoholic who manages her own nightclub and refuses to share her insights about their life together.

Determined, Thompson delves into the private archives of the late banker Walter Parks Thatcher (George Coulouris), also acknowledged as Kane’s guardian during his formative years. Through Thatcher’s extensive memoirs, Thompson unveils Kane’s impoverished childhood in Colorado. The story dates back to 1871 when a gold mine was discovered on her property, prompting Kane’s mother, Mary Kane (Agnes Moorehead), to send her son away to live with Thatcher, ensuring he received the education she deemed fit.

While Kane’s parents negotiate the arrangement inside, a young Charles Kane (Buddy Swan) plays joyfully with his sled in the snowy landscape outside, resistant to the idea of leaving his home. His mother, concerned that his father would squander their newfound wealth, ultimately relinquishes control of the gold mine to Thatcher’s bank in exchange for a trust fund, which would be deferred until Kane’s 25th birthday.

Upon attaining access to his trust fund, the ambitious Kane jumps into the world of journalism, influenced by a desire to dominate the media landscape. He takes over the New York Inquirer and begins a career steeped in yellow journalism, launching sensational articles that challenge Thatcher’s business interests, much to the banker’s fury. Kane’s steadfastness leads him to lose a staggering $1 million annually to keep his publication afloat, culminating in a devastating blow following the 1929 stock market crash, where he is compelled to relinquish control of his newspaper empire to Thatcher.

In the contemporary narrative, Thompson continues his interviews, speaking with Kane’s personal business manager, Mr. Bernstein (Everett Sloane), who reminisces about Kane’s early days in the business. Bernstein recounts how Kane, aided by top-notch journalists, significantly boosted the Inquirer’s circulation, clever maneuvering during the Spanish-American War amplifying his success. His marriage to Emily Norton (Ruth Warrick), the niece of a sitting President, cements his power, yet does not stave off future strife.

The investigation leads Thompson to Jedediah Leland (Joseph Cotten), Kane’s estranged best friend, now residing in a retirement home. Leland reflects on the deterioration of Kane’s marriage to Emily and describes the affair that blossomed between Kane and the aspiring singer, Susan Alexander, while he campaigned for the Governor’s seat in New York. As the affair becomes public and scandalous, it triggers the collapse of Kane’s political aspirations. He marries Susan but subjects her to an operatic career that she neither has talent nor desire for—a move that eventually results in a heartbreaking crisis.

In a poignant moment, Susan finally agrees to speak with Thompson, sharing her reflections on her ill-fated opera career. After a tumultuous period marked by Kane’s controlling nature, she attempts suicide, prompting Kane to allow her to cease her singing pursuits. Overwhelmed by isolation at Xanadu, Susan ultimately leaves Kane, spurring a dramatic response from him. His butler, Raymond (Paul Stewart), narrates that Kane’s heart shatters after Susan’s departure, leading him to violently obliterate the contents of her bedroom until he finds the snow globe, murmuring “Rosebud.”

As Thompson continues to catalog the remnants of Kane’s legacy, he discovers that the meaning behind “Rosebud” remains elusive and will forever be shrouded in mystery. In a haunting finale, the camera reveals that “Rosebud” refers not to an abstract concept, but rather to the sled on which the young Kane played—the very symbol of his lost childhood, unceremoniously disposed of by the staff at Xanadu and tossed into the flames, thought to be nothing more than a relic of the past.