Analysis of Orson Welles' Film Noir Works

"What themes are prevalent in Orson Welles work and how are they demonstrated?"

   Despite being celebrated as the “ultimate auteur”, Orson Welles is often overlooked for his massive influence on film noir. Displaying innovative thematic and stylistic consistencies in films such as Citizen Kane, Touch of Evil and Lady from Shanghai, Welles has left an indelible impact and legacy on the classic era of film noir. Welles employed extensive use of light and shadows, low angle shots and long takes to demonstrate and convey the prevailing themes: isolation and solitude, the depravity and decadency of a well respected man, his downfall marked by the character being consumed by the darker side of human nature. 
   Welles’ first feature film Citizen Kane, released in 1941 at the tender age of 25, is consistently ranked as one of the best films ever. Although not strictly a film noir, Citizen Kane manifests several film noir elements, such as low-key lighting, deep focus, Dutch angles and the typical film noir characters (a flawed protagonist, the good woman and the femme fatale). Continuity editing was also executed intelligently, especially the dissolves in the opening shots of the film. The first few shots are extreme close-ups of the fence and the gates, which not only establish the suspenseful and mysterious atmosphere, but also suggest the isolation and loneliness of the protagonist. 
   Deep focus is used extensively in the film, where the foreground and background are all in sharp focus. For example, in the scene where Kane’s mother signs a paper to hand Kane over to Mr Thatcher, all the characters are in focus, even Kane (who is playing outside the house in the extreme background). The use of deep focus emphasizes his isolation, as he is helplessly playing in the snow while his mother turns him over to another man at the same time, in the same frame. 

Deep focus where the foreground and background are all in sharp focus.

   Welles exploited light and shadows creatively to add a layer of meaning and emotion to Citizen Kane by experimenting with low-key lighting and chiaroscuro. In the news reel scene, a strong backlight is used to turn the characters into silhouettes and shadows. Edward Murray writes in his book Ten Film Classics that “in this way, the film-maker forces us to listen to what the men have to say – here the words are more important than the faces – but we listen while looking at a visually interesting screen” . By cloaking the reporter’s facial features, Welles was also suggesting their corruptness and superficiality while enhancing the mysterious mood. 

Backlighting used to create silhouettes

   The chiaroscuro represented the good and evil of human nature, as demonstrated by the shadows flitting on Kane’s face when he is reading the Declaration of Principles, which included promises that he would not be able to keep. Once he finishes reading, the shadows disappear and this foreshadows the downfall of Kane’s mighty newspaper empire. 
   In 1958, Orson Welles released his last Hollywood film, Touch of Evil, which is also considered by many to be the last film noir of the classic era. The use of shadows and low angle shots are dominant and contribute to the central theme of the innate corruption of human nature. The antagonist in this film is Hank Quillan, who is often shot in unconventional low angle shots to portray his dominance and menace. However, all the characters are morally ambiguous and have both light and dark personalities; in this film, looming shadows are employed very often to epitomize the darker side of the characters.

Low angle shots to portray Hank Quillan's dominance and menace.

      The opening scene, a famous long take spanning almost four minutes, is filled with suspense as the audience is aware of the ticking time bomb but does not know when it will detonate. The person who plants the bomb scurries out of the frame, but his shadow follows him and can be spotted on the wall. After the explosion, a hired assassin with a bottle of acid follows the protagonist. Once again, the audience loses sight of the assassin but his shadow is seen rushing across the wall. In both of these two cases, Welles is demonstrating the darker side of human nature through the use of shadows, which propels them to commit crime and murder once they lose their selves in the evil half of their personality. The shadows that are constantly looming over or chasing the characters seem to convey the message that the only thing one can’t run away from is oneself. 
   Through the groundbreaking usage of low-key lighting, low angle shots, light and shadows, Orson Welles has created a legendary, one-of-a-kind directorial style. His prevailing themes, depravity and isolation, are resonated in his various work of arts and demonstrated by his innovative style; making a strong case for being voted as the greatest film director of all time among both directors and critics. 

Bibliography

Works Cited

"Alex Ross: The Rest Is Noise." : Orson Welles. N.p., n.d. Web. 26 Sept. 2012. <http://www.therestisnoise.com/2007/04/orson-welles.html>.

"Film, Etc." : Auteurist Analysis of Orson Welles. N.p., n.d. Web. 26 Sept. 2012. <http://film-etc.blogspot.hk/2009/04/auteurist-analysis-of-orson-welles.html>.

"Low-angle Shot." Wikipedia. Wikimedia Foundation, 29 Aug. 2012. Web. 26 Sept. 2012. <http://en.wikipedia.org/wiki/Low-angle_shot>.

"Touch of Evil,1958, Orson Welles, Film Noir, Film, Movie, Review, Criticism, Bobby Wise, Cinematic Arts | Bobby Wise Criticism." Touch of Evil,1958, Orson Welles, Film Noir, Film, Movie, Review, Criticism, Bobby Wise, Cinematic Arts | Bobby Wise Criticism. N.p., n.d. Web. 26 Sept. 2012. <http://www.bobbywisecriticism.com/cinematic-arts/classic-film-noir-touch-of-evil-1958/>.