Synthesized answer
The passages show that Welles directly addresses the audience, calling the chorus girls "ballyhoo" and admitting they are shown "for purposes of ballyhoo" [1]. This upfront, self-aware narration reveals a playful, almost conspiratorial relationship with the audience, as he treats viewers as confidants who are in on the showmanship. He even introduces his actors personally, saying "I think you're gonna see a lot of him" [1], which suggests he values a direct, honest connection rather than hiding behind traditional promotional artifice.
This approach reflects Welles’ artistic philosophy of transparency and audience engagement. He later states that Kane "is a hero, and a scoundrel... It depends on who's talking about him," and invites viewers to "decide for yourself" [3]. By acknowledging the "ballyhoo" upfront, he signals that the film itself will be a layered, subjective narrative—not a simple story with one truth. This prepares viewers for the film’s fragmented, multiple-perspective storytelling style, where the audience must actively piece together the real Kane.
However, the passages do not explicitly discuss the film’s narrative style (e.g., its use of flashbacks or…
Synthesized from the book passages below. Chat with the book on Feynman for follow-up.
From the book
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…
← 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…
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…
Title: Citizen Kane (film) by Orson Welles --- Metadata --- Title: Citizen Kane (Methuen Film) by Orson Welles --- Text ---
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?
- 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?