Summary
Orson Welles introduces *Citizen Kane* as a modern American story about a man named Charles Foster Kane, but the film’s central argument is that Kane’s true nature is unknowable—he is simultaneously “a hero, and a scoundrel, a no-account, a swell guy, a great lover, a great American citizen, and a dirty dog,” depending on who is speaking. The trailer presents conflicting character assessments: one character calls Kane a communist, another credits him with the Panama Canal, while others label him crazy, wonderful, or a man to be skinned alive. Welles explicitly refuses to resolve these contradictions, telling the audience, “What’s the real truth about Charles Foster Kane? I wish you’d come to this theater … and decide for yourself.” The book’s main theme is the impossibility of a single, objective biography—Kane is defined only by the fragmented, biased perspectives of those around him. A reader takes away that identity is constructed through conflicting testimony, not revealed through a definitive account.
Key concepts
- Mercury Production — The film is presented as “A MERCURY PRODUCTION by Orson Welles,” emphasizing the theatrical ensemble’s transition to cinema.
- Ballyhoo — Welles uses the term to describe the chorus girls as “pretty nice ballyhoo”—a promotional spectacle distinct from the film’s real substance.
- Character testimony — The trailer relies on characters like Jed Leland, Jim W. Gettys, and Susan Kane to offer contradictory statements about Kane, establishing the film’s narrative structure of competing viewpoints.
- No footage trailer — The official trailer contains no footage from the actual film, only Welles introducing actors and characters on a sound stage.
- Sound stage call board — The trailer opens with a “SOUND STAGE CALL BOARD” sign, framing the film as a constructed, behind-the-scenes production.
From the book
The following is a transcription of a film . The contents below represent text or spoken dialogue that are transcribed directly from the video of the film provided above. On certain screen sizes, each line is represented by a timestamp next to it which shows when the text appears on the video. For more information, see Help:Film . 3816794 Citizen Kane — Official trailer 1940 Orson Welles RKO RADIO PICTURES SOUND STAGE CALL BOARD CITIZEN KANE STAGE 10 Orson Welles Lights! Get me a mic! Thank you. How do you do ladies and gentlemen. This is Orson Welles. I'm speaking for the Mercury Theater, and what follows is supposed to advertise our first motion picture. Citizen Kane is the title. We hope it can correctly be called a coming attraction. It's certainly coming, coming to this…
Popular questions readers ask
- Orson Welles explicitly states the trailer contains "no footage from the actual film." How does this unconventional choice impact audience anticipation and understanding of *Citizen Kane*, especially when compared to typical film trailers, and what might Welles' artistic intention have been behind this decision?
- Welles directly addresses the audience, even calling elements "ballyhoo." What does this upfront, self-aware narration reveal about his relationship with the audience, his artistic philosophy, and how it might prepare viewers for the film's own narrative style?
- Instead of showing scenes, Welles introduces numerous Mercury Actors by name. Why might emphasizing the *actors* be a more crucial promotional strategy for *Citizen Kane* than showcasing the film's plot or characters directly, and what does this suggest about the film's potential impact or Welles' vision for it?
- Welles states, "I'll turn you over instead to the characters in the fiction. You will see they feel very strongly on the subject." What does this narrative choice — having fictional characters introduce the central figure, Charles Foster Kane — imply about the film's structure, its approach to character revelation, and the audience's role in understanding Kane?
- Considering this trailer was released in 1940, how might Welles' innovative and unconventional promotional tactics have challenged or redefined audience expectations for a "coming attraction" during that era, and what does this imply about the evolving nature of cinema and its marketing?