{"id":75245,"date":"2014-08-12T20:30:21","date_gmt":"2014-08-13T00:30:21","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=75245"},"modified":"2014-08-13T10:14:11","modified_gmt":"2014-08-13T14:14:11","slug":"sartre-and-borges-on-welles","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/08\/12\/sartre-and-borges-on-welles\/","title":{"rendered":"Sartre and Borges on Welles"},"content":{"rendered":"
\"Citizenkane\"<\/a>

Theatrical release poster, 1941<\/p><\/div>\n

In a sense, that poster doesn\u2019t lie: everyone was <\/em>talking about Citizen Kane<\/em>. In another, more accurate sense, that poster\u00a0does\u00a0<\/em>lie: not everyone was joining in that \u201cIt\u2019s terrific!\u201d chorus.<\/p>\n

I hadn\u2019t known, until Open Culture<\/a> told me earlier today, that Sartre and Borges numbered among\u00a0Kane<\/em>\u2019s more outspoken critics. Sartre reviewed the film in 1945, meaning he took four years even to bother seeing it. His is a damning appraisal not just of the movie but\u2014kind of toothlessly\u2014the whole United States cinema culture:<\/p>\n

\n

Kane<\/em> might have been interesting for the Americans, [but] it is completely pass\u00e9\u00a0for us, because the whole film is based on a misconception of what cinema is all about. The film is in the past tense, whereas we all know that cinema has got to be in the present tense. \u2018I\u00a0am<\/em> the man who is kissing, I\u00a0am\u00a0<\/em>the girl who is being kissed, I\u00a0am <\/em>the Indian who is being pursued, I am<\/em>\u00a0the man pursuing the Indian.\u2019 And film in the past tense is the antithesis of cinema. Therefore\u00a0Citizen Kane\u00a0<\/em>is not cinema.<\/p>\n<\/blockquote>\n

Not exactly an open-and-shut syllogism, but that\u2019s in keeping with the Continental tradition, I guess.<\/p>\n

Borges reviewed Citizen Kane<\/em> in 1941\u2014in fact, he reviewed many a film in his day, among them King Kong<\/em>, The Petrified <\/em>Forest<\/em>, and Sabotage<\/em> (the 1936 classic, not the 2014 Arnold Schwarzenegger vehicle). Many of these can be found in his Collected<\/em> Nonfictions<\/em><\/a>. As the translation below attests, his review of\u00a0Kane<\/em> is typically well observed, though he\u2019s kind of hard on Rosebud, and we can now say, from the vantage of more than fifty years, that he was dead wrong about the whole endurance thing: <\/p>\n

\n

AN OVERWHELMING FILM<\/strong><\/p>\n

Citizen Kane<\/em>\u00a0(called\u00a0The Citizen<\/em>\u00a0in Argentina) has at least two plots. The first, pointlessly banal, attempts to milk applause from dimwits: a vain millionaire collects statues, gardens, palaces, swimming pools, diamonds, cars, libraries, man and women. Like an earlier collector (whose observations are usually ascribed to the Holy Ghost), he discovers that this cornucopia of miscellany is a vanity of vanities: all is vanity. At the point of death, he yearns for one single thing in the universe, the humble sled he played with as a child!<\/p>\n

The second plot is far superior. It links the Koheleth to the memory of another nihilist, Franz Kafka. A kind of metaphysical detective story, its subject (both psychological and allegorical) is the investigation of a man\u2019s inner self, through the works he has wrought, the words he has spoken, the many lives he has ruined. The same technique was used by Joseph Conrad in\u00a0Chance <\/em>(1914) and in that beautiful film\u00a0The Power and the Glory<\/em>: a rhapsody of miscellaneous scenes without chronological order. Overwhelmingly, endlessly, Orson Welles shows fragments of the life of the man, Charles Foster Kane, and invites us to combine them and to reconstruct him.<\/p>\n

Form of multiplicity and incongruity abound in the film: the first scenes record the treasures amassed by Kane; in one of the last, a poor woman, luxuriant and suffering, plays with an enormous jigsaw puzzle on the floor of a palace that is also a museum. At the end we realize that the fragments are not governed by any secret unity: the detested Charles Foster Kane is a simulacrum, a chaos of appearances. (A possible corollary, foreseen by David Hume, Ernst Mach, and our own Macedonio Fernandez: no man knows who he is, no man is anyone.) In a story by Chesterton\u2014\u201cThe Head of Caesar,\u201d I think\u2014the hero observes that nothing is so frightening as a labyrinth with no center. This film is precisely that labyrinth.<\/p>\n

We all know that a party, a palace, a great undertaking, a lunch for writers and journalists, an atmosphere of cordial and spontaneous camaraderie, are essentially horrendous.\u00a0Citizen Kane<\/em>\u00a0is the first film to show such things with an awareness of this truth.<\/p>\n

The production is, in general, worthy of its vast subject. The cinematography has a striking depth, and there are shots whose farthest planes (like Pre-Raphaelite paintings) are as precise and detailed as the close-ups. I venture to guess, nonetheless, that\u00a0Citizen Kane<\/em>\u00a0will endure as a certain Griffith or Pudovkin films have \u201cendured\u201d\u2014films whose historical value is undeniable but which no one cares to see again. It is too gigantic, pedantic, tedious. It is not intelligent, though it is the work of genius\u2014in the most nocturnal and Germanic sense of that bad word.<\/p>\n<\/blockquote>\n

\u201cThis is a labyrinth of a movie with no way out,\u201d Welles later said in response. \u201cBorges is half-blind. Never forget that. But you know, I could take it that he and Sartre simply hated\u00a0Kane.\u00a0<\/em>In their minds, they were seeing\u2014and attacking\u2014something else. It\u2019s them, not my work.\u201d<\/p>\n

Whatever gets you through the night, Orson.<\/p>\n","protected":false},"excerpt":{"rendered":"

In a sense, that poster doesn\u2019t lie: everyone was talking about Citizen Kane. In another, more accurate sense, that poster\u00a0does\u00a0lie: not everyone was joining in that \u201cIt\u2019s terrific!\u201d chorus. I hadn\u2019t known, until Open Culture told me earlier today, that Sartre and Borges numbered among\u00a0Kane\u2019s more outspoken critics. Sartre reviewed the film in 1945, meaning […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1186],"tags":[3451,478,9734,2476,81,1470,477],"class_list":["post-75245","post","type-post","status-publish","format-standard","hentry","category-on-film","tag-citizen-kane","tag-criticism","tag-jean-paul-sartre","tag-jorge-luis-borges","tag-movies","tag-orson-welles","tag-reviews"],"acf":[],"yoast_head":"\nSartre and Borges on Welles by Dan Piepenbring<\/title>\n<meta name=\"description\" content=\"August 12, 2014 \u2013 In a sense, that poster doesn\u2019t lie: everyone was talking about Citizen Kane. 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