Synthesized answer
Emphasizing the Mercury Actors is presented as a crucial promotional strategy because they are considered an attraction in themselves [1]. Orson Welles states, "I think our Mercury Actors make it an attraction. I'd like you to meet them" [1]. He introduces several of them by name, such as Joseph Cotton, Ruth Warrick, Ray Collins, Dorothy Comingore, George Coulouris, and Everett Sloane [2]. This suggests that Welles believed the audience's familiarity with or interest in these actors, particularly since many were new to the screen, would draw them to the film [2].
This approach implies that Welles envisioned *Citizen Kane* as a showcase for the talent of the Mercury Theater company. By highlighting the actors rather than directly detailing the plot or characters, the strategy suggests a focus on the performers' capabilities and the collective appeal of the Mercury troupe. Welles himself notes that this is "the first time you've seen most of them on the screen" [2], indicating a desire to introduce and promote these actors to a wider film audience. The passages do not explicitly state what this suggests about the film's potential impact or Welles' vision beyond showcasing the…
Synthesized from the book passages below. Chat with the book on Feynman for follow-up.
From the book
← Citizen Kane ( 1940 ) by Orson Welles Official trailer → related portals : Film trailers The official film trailer for Citizen Kane, featuring no footage from the actual film. 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…
m. Chorus Girls There is a man, a certain man And for the poor, you can be sure, He'll do all he can. Who is this one? Orson Welles Speaking of attractions, all the chorus girls are certainly an attraction. But frankly, ladies and gentlemen, we're just showing you the chorus girls for purposes of ballyhoo. It's pretty nice ballyhoo. But here's some of our real Mercury people. This is the first time you've seen most of them on the screen. Hey, uh, give Joe a little light! Smile for the folks, Joe. Smile! Joseph Cotton, ladies and gentlemen. That's it! Joseph Cotton. I think you're gonna…
little blondie named Susan Alexander he couldn't be elected dogcatcher. I'm going to skin Mr. Charles Foster Kane alive. Emily Monroe Norton I'm gonna marry him next week—at the White House. Jed Leland Emily, I hear you've been stepping out with Charlie Kane. Herbert Carter Gasping Mary Kane Of course I love him, I gave him 60 million dollars. Susan Kane Well of course I love him, he's the richest man in America. Herbert Carter Gasping Jed Leland What all you're [inaudible] say about him, at first. Jim W. Gettys But, you know, I can't help but admire him. Raymond He's crazy. Emily Monroe…
George Coulouris. Watch it! Here comes Everett Sloane, look out, Everett! Oops. Everett Sloane, ladies and gentlemen. He isn't necessarily a comedian. Here's one of the best actors in the world, Agnes Moorehead. I've said a lot of nice things but Erskine Sanford deserves some more. Erskine! Erskine Sanford. So does Paul. Paul! Paul Stuart, everybody. Citizen Kane is a modern American story about a man called Kane. Charles Foster Kane. I don't know how to tell you about him, there's so many things to say. I'll turn you over instead to the characters in the fiction. You will see they feel…
when Citizen Kane plays here and decide for yourself. A MERCURY PRODUCTION by Orson Welles "Citizen Kane" AN R.K.O. RADIO PICTURE This work is in the public domain in the United States because it was legally published within the United States (or the United Nations Headquarters in New York subject to Section 7 of the United States Headquarters Agreement ) between 1931 and 1977 (inclusive) without a copyright notice. The longest-living author of this work died in 1985, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 40 years or…
More questions about this book
- 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?
- 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?