![]() ![]() Even if we cannot appreciate it as a vital, pulsating work of our times, we are able to realise why, at one time, it was considered vital and pulsating, and why Welles was such a pioneer in the West.īut when it comes to our filmmakers and our films, it appears at times that all we have is statistics. ![]() And thus, when we see Citizen Kane today, we see it in context. Therefore, those of us who were not around then, and cannot take a trip down memory lane, only have to take a trip down to the library (or click on Google) to become aware of what the filmmaking milieu was like when Welles appeared on the scene, how his radio background influenced his filmmaking, why Kane is so revolutionary (despite its tricks having being stolen so many times since, they’re practically clichés today) – so on and so forth. Critics and scholars down the years have argued about Kane, wrestled with it, deconstructed it to a molecular level, and an equal number of forests have been felled in arguing about and deconstructing its maker and his motives. If we appreciate Citizen Kane and Orson Welles today – we who were born several decades after the fact – it’s because American cinema (or even European cinema) has been the subject of extensive documentation. ![]() I hoped he’d open up about his favourite films of the late director, along with an anecdote about being a fan, perhaps, or a recollection of a long-ago meeting – but more importantly, I hoped for some context. – A LITTLE AFTER THE NEWS OF FILMMAKER Sridhar’s demise, I requested K Balachander to share some memories of his contemporary. ![]()
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