Kane is now clearly larger than his old self, but still close to ordinary men in his newsroom.
Famous transition sequence showing disintegration of marriage . . .
. . . showing the transformation at various stages from newly weds to middle-aged couple . . .
. . . culminating in the complete alienation.
Susan Alexander. At lower left corner, you can see the glass ball that appeared in the beginning the film. Child pictures of her figuratively link their childhood and explain why Kane is attracted by her. But the rub is that it's not what she wants but what he wants her to be.
Kane for Governor
Kane's son and wife; politics was the last link that helds this family and one that broke it.
Kane: You're fired. This shot could not be done with deep focus. So Welles combined two different shots (Kane and Leland/background) through optical printer. It achieves the same effect as deep focus, with every plane in clear focus.
This time a transition is achieved by playing old shot optically printed into second shot, as to say Kane's firing was stamped into his consciousness.
At the crux of their relationship was Kane's support of Alexander was not what she wanted but what he wanted her to be.
Opera produced for obsessed Kane. He's the only one clapping for her performance.
Declaration of Principles
A visual pun as Alxander is literally swallowed under Kane's shadow.
This shot - poison, unconscious Alexander, locked door, Kane rushing in - tells the whole story of Alexander's suicide attempt in a single frame.
Like this scene, there are often scenes that echo previous scenes in the film.
Aging and death, the ultimate equalizer
Kane is reflected in multiple set of mirrors as Kane reflects upon himself near the end of his life.
And you thought you had hard time moving.
The movie ends just as it began except for smokes that is all that remains of Charles Foster Kane.