Whether film or radio was a more popular medium in the 1930s is related to the question of whether film or television is a more popular medium today. There is little question today that the influence of television is broader and, because of its journalistic role, more powerful than film. The situation was similar with radio in the 1930s.

Radio was the instrument of communication for American presidents (for example, Franklin D. Roosevelt's "fireside chats") and for entertainers such as Jack Benny and Orson Welles. In a sense, radio shared with the theatre a reliance on language. Both heightened (or literary) language and naturalistic language were readily found in radio drama. Beyond language, though, radio relied on sound effects and music to create a context for the characters who spoke that dialogue.

Because of its power and pervasiveness, radio was bound to influence film and its newly acquired use of sound. Perhaps no one better personifies that influence than Orson Welles, who came to film from a career in theatre and in radio. Welles is famous for two creative achievements: one in film (Citizen Kane, 1941), the other in radio (his 1937 broadcast of H. G. Wells's The War of the Worlds). As Robert Carringer suggests,

Welles' background in radio was one of the major influences on Citizen Kane. Some of the influence is of a very obvious nature—the repertory approach, for instance, in which roles are created for specific performers with their wonderfully expressive voices in mind. It can also be seen in the exaggerated sound effects. The radio shows alternated between prestigious literary classics and popular melodrama.

Other examples of the radio influence are more subtle. Overlapping dialogue was a regular feature of the Mercury radio shows, as were other narrative devices used in the film—the use of sounds as aural punctuation, for instance, as when the closing of a door cues the end of a scene, or scene transitions in mid-sentence (a device known in radio as a cross fade), as when Leland, talking to a crowd in the street, begins a thought, and Kane, addressing a rally in Madison Square Garden, completes it.6

Indeed, from the perspective of narrative structure, Citizen Kane is infused by the influence of radio. The story is told via a narrator, a dramatic shaping device central to radio drama. Welles used five narrators in Citizen Kane.7 Although the story proceeds as a flashback from Kane's death, it is the various narrators who take us through key events in Kane's life. To put the views of those narrators into context, however, Welles used a newsreel device to take us quickly through Kane's life. With this short newsreel (less than 15 minutes), the film implies that Kane was a real and important man whose personal tragedies superseded his public achievements. The newsreel leaves us with an implicit question, which the first narrator, the newsreel reporter, poses: What was Kane's life all about? The film then shifts from newsreel biography to dramatic mystery. This is achieved through a series of radio drama devices.

In Movietone fashion, a narrator dramatizes a visual montage of Kane's life; language rather than image shapes the ideas about his life. The tone of the narration alternates between hyperbole and fact. "Xanadu, where Kublai Khan decreed his pleasure dome" suggests the quality of Kane's estate, and the reference to "the biggest private zoo since Noah" suggests its physical scale. The language is constantly shifting between two views of Kane: the private man and the public man. In the course of the newsreel, he is called "the emperor of newsprint," a Communist and a Fascist, an imperialist and a pacifist, a failed husband and a failed politician. Throughout, the character of language drives the narrative.

The music throughout the newsreel shifts the focus and fills in what is not being said. Here, too, Welles and composer Bernard Herrmann used music as it was used in radio.

The other narrators in the film—Thatcher, Leland, Bernstein, and Susan (Kane's second wife)—are less forthcoming than the newsreel narrator. Their reluctance helps to stimulate our curiosity by creating the feeling that they know more than they are telling. The tone and language of the other narrators are cautious, circumspect, and suspicious—far from the hyperbole of the newsreel. The implication is dramatically very useful because we expect to learn quite a lot if only they will tell us.

Beyond the dramatic effect of the narration device, the use of five narrators allowed Welles and screenwriter Herman I. Mankiewicz to tell in 2 hours the story of a man whose life spanned 75 years. This is the principle benefit of using the narrators: the collapse of real time into a comprehensive and believable screen time.

This challenge of collapsing time was taken up by Welles in a variety of fascinating ways. Here, too, radio devices are the key. In the famous Kane-Thatcher scene, the completion of one sentence by the same character bridges 17 years. In one shot, Kane is a boy and Thatcher wishes him a curt "Merry Christmas," and in the next shot, seventeen years later, Thatcher is dictating a letter and the dialogue is "and a Happy New Year." Although the device is audacious, the audience accepts the simulation of continuity because the complete statement is a well-known one and both parts fit together. Because Thatcher looks older in the second shot and refers to Kane's 25 th birthday, we accept that 17 years have elapsed.

The same principle applies to the series of breakfast table shots that characterize Kane's first marriage. The setting—the breakfast table—and the time—morning—provide a visual continuity while the behavior of Kane and his wife moves from love in the first shot to hostility and silence in the last. In 5 minutes of screen time, Kane and editor Robert Wise collapse eight years of marriage. These brief scenes are a genuine montage of the marriage, providing insights over time—verbal punctuations that, as they change in tone and language, signal the rise and fall of the marriage. Here, too, the imaginative use of sound over image illustrates the influence of radio. See Figure 4.2.

Welles used the sound cut to amuse as well as to inform. As David Bordwell describes it, "When Kane, Leland and Bernstein peer in the Chronicle window, the camera moves up the picture of the Chronicle staff until it fills the screen; Kane's voice says 'Six years ago I looked at a picture of the world's greatest newspaper staff-.-.-.' and he strides out in front of the same men, posed for an identical picture, a flashbulb explodes, and we are at the Inquirer party."8 Six years pass as Kane celebrates his human acquisitions (he has hired all the best reporters away from his competition) with sufficient wit to distract us from the artificiality of the device.

Finally, like Fritz Lang in M, Welles used sound images and sound cuts to move us to a different location. Already mentioned is the shift from Leland in the street to Kane at Madison Square Garden, in which Kane finishes the sentence that Leland had started. The sound level shifts from intimate (Leland) to remote (Kane), as the impassioned Kane tries harder to reach out and move his audience. The quality of the sound highlights the differences between the two locations, just as the literal continuity of the words spoken provides the sense of continuity.

Figure 4.2 Citizen Kane, 1941. ©1941 RKO Pictures, Inc. All Rights Reserved. Still provided by British Film Institute.

80 □ history of film editing

Another example of location shift together with time shift is the opera scene. Initially Kane's second wife, Susan Alexander, is seen being instructed in singing opera. She is not very good. Her teacher all but throws up his hands. Kane orders him to continue. Susan tries to reach higher notes, even higher in pitch than she has managed so far. In the next shot the orchestration of the music is more elaborate. Susan is reaching for an even higher note. And visually she is on stage surrounded by her fellow actors and singers. The opera is approaching its climax—the death scene.

Again, Welles has used sound to provide both continuity—Susan singing in training to Susan singing in the performance of the opera—and drama— the stakes are far higher in performance than in training. As we anticipate, both Susan and Kane are humiliated by the performance. Just as Kane did not accept the advice of the teacher, he vows not to accept the views of the audience and his main critic, Jed Leland. Only Susan is left trapped in humiliation.

In the opera scene, time and place change quickly, in a single cut, but the dramatic continuity of growing humiliation and loss demark another step in the emotional descent of Citizen Kane.

These radio devices introduced by Welles in a rather dramatic fashion in Citizen Kane became part of the editor's repertoire, but they awaited the work of Robert Altman and Martin Scorsese, more than 30 years later, to highlight for a new generation of filmmakers the scope of sound editing possibilities and the range that these radio devices provide.

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