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Citizen Kane (Ciudadano Kane) D’Orson Welles Versió Original En Anglès Subtitulada

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Citizen Kane (Ciudadano Kane) D’Orson Welles Versió Original En Anglès Subtitulada Associació Cultural Granollers Dimarts Singulars Dimarts 27 de setembre / 20 hores 2016 Centre Cultural de Granollers Citizen Kane (Ciudadano Kane) d’Orson Welles Versió original en anglès subtitulada Fitxa tècnica: Fitxa artística: Guió: Orson Welles, Herman J. Mankiewicz / Fotografia: Orson Welles, Joseph Cotten, Everett Sloane, George Gregg Toland (B&W) / Música: Bernard Herrmann Coulouris, Dorothy Comingore Any: 1941 / País: Estats Units / Durada: 119 minuts Oscar al millor guió original i National Board of Review i Cercle de Crítics de Nova York premi a la millor pel·lícula. SINOPSI. Un important magnat nord-americà, Charles Foster Kane, amo d’una important cadena de diaris, d’una xarxa d’emissores, de dos sindicats i d’una inimaginable col·lecció d’obres d’art, mor a Xanadú, en el seu fabulós castell d’estil ori- ental. L’última paraula que pronuncia abans d’expirar, “Rosebud”, és un enigma, desperta una enorme curiositat tant en la premsa com entre la població. D’aquesta manera, un grup de periodistes emprèn una investigació per desentranyar el misteri. EL DIRECTOR. Orson Welles (Kenosha, Wisconsin, 1915 – Los Angeles, 1985). Ingressà a l’escola Todd de Woodstock (Illinois) el 1926, on desenvolupà les seves inquietuds teatrals com a actor, director i adaptador. Als disset anys marxà a Irlanda amb la intenció de dedicar-se a la pintura i debutà professionalment com a actor al teatre Gate de Dublín. De nou al seu país, el 1934, formà part de la companyia McClintic-Cornell amb la qual debutà, a Broadway, amb Romeu i Julieta. Com a director, muntà Macbeth (1935) i Doctor Faustus (1936-37) i el 1937 fundà la seva pròpia companyia, Mercury. El 1946 va estrenar-se La volta al món en vuitanta dies, musicada per Cole Porter. A partir de 1937 esdevingué un reconegut actor radiofònic gràcies al seu personatge de L’ombra. Es féu famosa l’emissió en directe, el 30 d’octubre de 1938, de La guerra dels mons de H. G. Wells. La dramatització de l’obra fou tan realista que va generar en els oients la creença que realment s’estava produint una invasió marciana i es va estendre el pànic a part de la població. Aquests èxits van fer que Hollywood es fixés en ell i pel juliol de 1939 signà un contracte amb la RKO. El maig de 1941 estrenà el seu primer film com a director, actor, coguionista i coproductor, el famòs Citizen Kane (Ciutadà Kane). Seguidament va dirigir i també va protagonitzar com a actor, en la major part dels casos, els films:The Magnificent Amberson (Els magnífics Amberson, 1942), The stranger (El desconegut, 1946), The Lady from Shangai (La dama de Xangai, 1948), Macbeth (1948), Othello (1952), Mr. Arkadin (1955), Touch of Evil (Sed de mal, 1958), Don Quixot (1960, inacabat), Le Procès (El procés, 1962), Chimes at Midnight (Campanades a mitjanit, 1966), The immortal Story (Una història inmortal, 1966), F. for Fake (1973) i The Other Side of the Wind (L’altra cara del vent, 1974-75, inacabat). Com a actor cal destacar el seu paper a The Third Man (El tercer home , 1949), dirigida per Carol Reed. Casat amb l’actriu Rita Hayworth (1943-1947), els problemes mantinguts amb els productors de Hollywood, va fer que entre 1948 i 1956 visqués a Europa. Els darrers anys es dedicà a interpretar personatges secundaris en pel·lícules no gaire interessants per tal de finançar el seu darrer projecte inacabat, L’altra cara del vent. SOBRE LA PEL·LÍCULA ¿Qué se puede decir de Ciudadano Kane que no se haya dicho hasta ahora? 75 años han pasado ya desde su estreno el 1 de mayo de 1941 en el RKO Palace de Broadway, en Nueva York. […] Y es que tenía solo 25 años cuando protagonizó, escribió, dirigió y produjo esta historia. […] Ciudadano Kane ha estado liderando durante 50 años el top ten de la lista de las mejores películas de todos los tiempos de la prestigiosa revista Sight & Sound. Desde 2012 es Vértigo, de Alfred Hitchcock, la que ocu- pa la primera posición. […] Rodar la película no fue tarea fácil. Hearst intentó boicotearla y de hecho lo consiguió. Su estreno estaba previsto dos meses y medio antes pero se pospuso debido a las presiones ejercidas por el todopoderoso magnate de la prensa, que atacaría al filme en sus medios de comunicación e intentaría que la película no se distribuyese. […] Era la primera película de Welles, un joven ambicioso curtido en el teatro y la radio. Tuvo carta blanca para hacer lo que quisiera a pesar de no tener experiencia previa en el mundo del cine. Así se lo garantizaba el suculento contrato con los estudios RKO, que le convertirían en el cineasta mejor pagado y con mayor independencia de la historia del cine norteamericano. Welles se movió como pez en el agua durante el rodaje y se llevó consigo a sus compañeros del Mercury Theatre, entre ellos a su gran amigo Joseph Cotten. […] La polémica que generó la cinta fue tal que RKO Pictures recibió ofertas monetarias para destruirla antes de su estreno público. Tras una negociación con los abogados de Hearst, la compañía cinematográfica pre- sionó al director para que eliminara algunos fragmentos de la película. Una de las escenas eliminadas hacía referencia a la sospechosa muerte de Thomas Ince, un magnate del cine que falleció durante una fiesta de cumpleaños de Hearst. Durante su producción, Ciudadano Kane fue conocida como RKO 281. En un principio la película iba a llevar por título American, pero el jefe de RKO George Schaefer sugirió cambiarlo por el de Ciudadano Kane. Orson Welles pensó en titular su película con el nombre de John Q. […] Existe un debate abierto sobre la verdadera autoría del guión, que fue galardonado precisamente con el único Oscar de los nueve a los que aspiraba la película en la edición de 1942. El veterano guionista Herman J. Mank- iewicz, gran bebedor y adicto al juego, había asistido a muchas de las fiestas que organizaba Hearst en Hollywood. Uno vez, el magnate negó su entrada a una de ellas, afirmando que tenía problemas con el alcohol. La veterana crítica de cine Pauline Kael publicó en 1971 en The New Yorker una investigación que apuntaba a que fue Herman quien escribió el guión del filme en un centro de rehabilitación alcohólica donde se le encerró para que cumpliera con la escritura del texto. En Raising Kane la periodista desmitifica el papel que tuvo Welles en el guión y asegura que, pese a figurar en los créditos, no colaboró en una sola línea. Dicha postura no fue del agrado de muchos críticos y Peter Bogdanovich, cineasta y gran amigo de Welles refutó muchas de las afirmaciones de Kael. […] Welles mantuvo el plató cerrado, limitó el acceso al metraje y controló la publicidad de Ciudadano Kane para asegurarse de que la trama se mantuviese en secreto. Los primeros meses de filmación Welles alejó a los curiosos y a la prensa afirmando que estaban apenas ensayando, lo que dio resultado. […] Rosebud es el gran secreto de la historia, la última palabra que dice Kane antes de morir y ha pasado a considerarse uno de los McGuffin más importantes de la historia del cine. Solo al final de la cinta el espectador conoce que Rosebud (“capullo de rosa” en español) es el nombre del trineo con el que jugaba Kane de pequeño, la imagen de una infancia añorada. Pero Rosebud es mucho más, en realidad era el apodo cariñoso que Hearst daba a las partes íntimas de su amante, la actriz Marion Davies, a la que intentó lanzar en vano al estrellato. En la película, Davies es presentada como una mujer frívola e interesada, pero lo cierto es que cuando He- arst se arruinó, ella le ayudó a superar la crisis vendiendo sus valiosas joyas. […] A lo mejor poca gente se habrá dado cuenta, pero la verdad es que Ciudadano Kane cuenta con un gazapo importante al principio de la película. Si Kane muere solo en su habitación ¿cómo es posible que la prensa esté intrigada por saber el significado de Rosebud, la última palabra que sale de su boca? Cuenta la leyenda que hubo quienes se percataron del error antes del estreno de la cinta, pero Welles les pidió que no se lo contaran a nadie. Parece que los críticos no se dieron cuenta de este “error”, porque la película tuvo una abrumadora mayoría de opiniones positivas tras su estreno, aunque fue un fracaso comercial. Astrid Meseguer / La Vanguardia PROPERES SESSIONS 30 de setembre i 2 d’octubre: Marguerite (2015), de Xavier Giannoli 7 i 9 d’octubre: Spotlight (2015), de Thomas McCarthy Dimarts Singulars. 11 d’octubre: The Razor’s Edge (Al filo de la navaja, 1946), d’Edmund Goulding Associació Cultural Granollers AMB EL PATROCINI DE: EN CONVENI AMB: Almogàvers, 5 [email protected] 08401 Granollers www.acgranollers.cat T 93 861 55 98 @ACGranollers F 93 844 30 28 AC Granollers.
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