Daily Dialogue — October 22, 2014
“Rosebud.”
— Citizen Kane (1941), original screenplay by Herman J. Mankiewicz & Orson Welles
The Daily Dialogue theme for the week: Dying Words. Today’s suggestion by pgronk.
Trivia: William Randolph Hearst was infuriated by this movie, obviously based on his life. According to an essay written for the “New York Review of Books” by Gore Vidal “Rosebud” was Hearst’s name for long-time mistress Marion Davies’ clitoris. Some other reports claim screenwriter Herman J. Mankiewicz took the name from a bicycle he owned as a child. Either way, the discussions of “Rosebud’s” origin are difficult to date any earlier than the 1970s, as feared retribution by Hearst and, following his death, many of his devotees made the subject taboo.
Dialogue On Dialogue: I posted this back in 2009. Unfortunately the interview footage is no longer available, however my observations based on the footage are. Here they are:
The Internet never ceases to amaze me. Below is an excerpt from an interview with Orson Welles. I’ve never seen it before today, never even knew of its existence until I started bumping around the web. Two things about the interview. First, Welles reveals that the idea of ‘home’ is very important to him because as a child, his family moved multiple times, so he never really had what he would call a home. Second, he confesses that his least favorite thing about Citizen Kane was Rosebud — he calls it a “rather tawdry device.”
May I humbly disagree. First, Rosebud serves numerous narrative functions: framing device for the narrative, source of a mystery as well as eventually the key to solving it, the sled and the snow globe powerful visual devices, taking on talismanic significance.
But beyond that, I wonder if Welles is doing a bit of deflection here. In response to the interviewer’s question, “Is there anything that came out of that [i.e., Welles’ family moving around so much] in the movie,” Welles offers a definitive no. But isn’t ‘home’ what Rosebud — the sled / snow globe — represents to Kane, that one time and one place where he was truly happy, his youthful winter wonderland, he and his friends, sledding in the snow, only to be yanked out of there by life’s sudden turn? And so isn’t it fair to think that Welles’ desire to have a single place he could call home (he says so point blank in the interview) is reflected in the experience of young Charles Foster Kane? Therefore, Rosebud can be seen to be much more than a “tawdry device,” it is precisely the whole point of Kane’s existence, constantly attempting in all his life endeavors to find some thing, some place he could call ‘home.’ Yet he could never satisfy that almost infantile need, which is why it’s so riveting to see him wandering the halls of Xanadu on the night of his death, clutching the snow globe, then offering up his final word, “Rosebud.”
And oh yeah: “Rosebud” also sets into motion one of the great cinematic mysteries, one which no one in the story — other than Kane himself — figures out. But we do in those dramatic final shots.
Yes. Some seriously famous dying words in Citizen Kane.
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