Meet the parents breakfast scene citizen

Robert De Niro and Ben Stiller recreate Meet The Parent's lie detector scene | Metro News

meet the parents breakfast scene citizen

The Citizen Kane characters covered include: Charles Foster Kane, When Kane's mother comes into a seemingly limitless fortune, she sends When they meet, Susan seems soft and sweet to him, but her true nature a montage of breakfast table scenes traces the breakdown of their marriage over a period of years. When the parents bring Thatcher out to meet the boy for the first time, Welles keeps sequence in which we see the deterioration of a marriage over the breakfast table. Most of the scenes between the second Mrs. Kane and Kane focus on. Newsreel of Union Square meeting, section of crowd carrying banners urging the boycott of Kane papers. A speaker is on the platform above the crowd.

That is one of the reasons why it was shot so dark and shadowyeven compared to the rest of the film. Joseph Cotten is still clearly visible in the corner, however, when the editor is asking "What were his last words?

As Kane is embarking on his political career, he brings a marching band and a line of chorus girls into his conference room to sing a very upbeat rendition of "There Is a Man, A Certain Man" to the assembled businessmen and politicians at the conference table. He doesn't like that 'Mister'; he likes good old 'Charlie Kane'! At the beginning, with the snowglobe.

Kane and the first Mrs. On the "News on the March" segment, clips such as Kane's first marriage were undercranked and sandpapered to give out an s feel. In the context of the '40s, and even today to some extent, Citizen Kane radically subverts the conventional Hollywood narrative. Namely that the idea of defining life in terms of social success and wealth ultimately makes you value people less and makes you desire to control and buy people around you.

The theme of the story, that of an antihero Dying Aloneunredeemed, an unpleasant, manipulative Jerkass who never learns his lesson even in his old age and who leaves behind several disappointed friends and broken loved ones was fairly harsh, in terms of absence of easy conflict resolution, putting across the futility of life and the passage of time. Likewise the characters are not consistent or slaves to type.

Rather than being marked by a single trait and attribute, they have multiple traits and attributes. Kane goes from an idealistic, flamboyant young man to a reclusive, paranoid hermit, the Character Development isn't drastic or cordoned to a single transforming event.

Citizen Kane (Film) - TV Tropes

The opening newsreel montage also parodies the glib, cheery newsreel style reportage at the time, pointing out that even if the information is objectively correct, the tone, the interpretation and drastic editing only gives a shallow, superficial idea of the subject. The multiple-narrators approach, which is still quite revolutionary, directly puts across the problem of objectivity, since there's always one part of the story that's missing and ultimately the reporter, William Alland decides that the full mystery of Kane or his motivations cannot really be known and gives up on finding out what Rosebud is.

The film is a double subversion. Even though Kane is the title character, he's actually the person we learn about through multiple third-person perspectives of him, since he died at the beginning. The real protagonist is Jerry Thompson, whose goal throughout the film is to find out what "Rosebud" meant.

It's unclear whether Welles was telling the truth, but Hearst certainly went out of his way to make sure everyone would think Kane was based off him. How very Charles Foster Kane of him. You furnish the pictures, and I'll furnish the war.

I'll provide the war. Welles actually tried to get around this by including a line in the film in which a journalist makes a reference to both Kane and Hearst, thus indicating that Hearst actually exists as a separate entity in the Citizen Kane universe.

The film used this subtly: In one scene, a window turns out to both be much larger and much higher up than it initially appears, which means that when Kane approaches it, he suddenly appears a lot smaller and less significant.

This, of course, is used for symbolic effect. Also done with the fireplace in Xanadu, which is revealed to be large enough to burn whole trees when Kane goes back to it. One of Kane's Fatal Flawssuch as forcing the world to accept Susan as an opera singer, which drives her into a suicide attempt.

The film got an accidental taste of this. In one scene, out the window there was supposed to be rain; the person in charge of the film's restoration thought it was excessive film grain, so it was digitally edited out of the restored print. Later, the Blu-ray boasted a new restoration, which brought back such details as the aforementioned rain.

Kane dies in the first scene of the film. By the end of the movie, the viewer realizes that, despite being on top of the world, Kane was tremendously unhappy and what he wanted above all else in his life was to be loved.

Kane dies alone, as the movie opens, as he remembers the last time in his life when he was truly happy; when he was playing with his beloved sled, Rosebud. Plus the fact that the reporter and the rest of the world never do find out what "Rosebud" is.

Citizen Kane () movie script - Screenplays for You

The only way the viewer finds out is when it's too late; when the sled is being burned, along with some of Kane's other belongings. The real tragedy is that he had the sled as part of his property throughout his whole life. Still, owning it didn't change a thing - the past is the past. This also means that Kane died with one cherished secret only he knew. The press and the populace could never get their hands on what was closest to his heart.

Citizen Kane (1941)

And the snowglobe, which Kane held until he died, had belonged to Susan, who had loved him for himself. He was thinking of her, too. The snowglobe that's dropped as Kane dies. The snow globe at the beginning. Susan eventually decides that she's done with the opera singing and all the scathing critiques it brings and tries to overdose. She survives however, but nonetheless stops singing. What the hell is this "Rosebud" thing?

This effect is shown when Kane passes between two mirrors. A variant occurs, only without hilarity ensuing. Subverted by the fact that Susan knows that, while she's not completely untalented, she's nowhere near good enough to carry an opera all on her own. It's only Kane using all his wealth and influence to push her into the spotlight against her wishes. Kane funds an elaborate opera show for the sole purpose of casting his girlfriend in the lead role.

meet the parents breakfast scene citizen

Kane manipulates the public sentiment to incite the war. Kane at the beginning. The rest of the movie is devoted to showing why he was alone. Throughout the opening montage showing Kane's vast Xanadu estate, a single lit window is visible on the upper right hand corner of every shot, getting closer all the time. At the end, the light goes out, leading to the memorable scene of Kane uttering his dying word.

Susan's failed opera career is shown through a chaotic montage punctuated by a flashing lightbulb supposedly the one used to cue the actors backstage. The montage ends abruptly with the bulb burning out, followed by Susan in bed with some sleeping pills next to her bed, implied to be a suicide attempt. Subverted in that Susan survives, although the burned out bulb can also symbolize the death of her opera singing career.

meet the parents breakfast scene citizen

Both the tracking shot into El Rancho, and the tracking up the ladder during Susan's opera performance - and yes, it used a visual effect miniature ladder. The first major scene with Welles as a year-old Kane has him arguing with Thatcher over how he was running The Inquirer. It does extremely well with establishing how money was simply not a concern of his in any way, shape or form.

Lampshaded by Susan when the Inquirer gives her a bad review: Stop telling me he's your friend! A friend don't write that kind of review! All these other papers panning me, I could expect them, but when the Inquirer writes a thing like that, spoiling my big debut!

Even Jim Gettys is shocked Welles won't listen to his wife or Susan and spare them humiliation. An attempt that backfired big-time: Perhaps the most exquisite example of this is the famous breakfast sequence in which we see the deterioration of a marriage over the breakfast table. Still in the honeymoon phase of their marriage we see the loving couple shoulder to shoulder in an intimate two-shot, the camera placed directly in front of them at eye level.

He reads his paper, she reads his competitor's. We need go no closer since it is only too obvious that this is the end of their road together. Most of the scenes between the second Mrs.

  • Robert De Niro and Ben Stiller mock White House troubles with Meet The Parents’ lie detector scene
  • Lecture Library

Kane and Kane focus on Susan's career as an opera singer and not on their intimacy. Here, too, space is significant. We could say that the more spacing within the frame, the greater the emotional distance between Charles and Susan. As the virginal Susan of their initial encounter gives way to the tormented shrew, she often seems stuck in some nether world that has little room for others, certainly not for Charles. As Charles pushes her into opera, she becomes more unhinged to the point that she attempts suicide.

Director Welles shoots her in stark close-ups or isolates her on stage, a naif in the land of predators.

meet the parents breakfast scene citizen

The end of the marriage is announced well before the actual breakup. Kane has built the cavernous Xanadu for Susan, a living mausoleum that seems to have been conceived as space to fill, not as an residence. Susan is put on the level of one of Kane's statues, a small creature who has lost warmth a nd even acerbity. When Susan does finally leave Kane the encounter takes place, appropriately enough, in her rather cramped bedroom which resembles a doll's house rather than a rich woman's living space.

Susan is preparing to leave, Charles blocks her path, yet he does not threaten her but pleads for her not to go. The largest object in this shot is neither Susan nor Charles, but rather the porcelain doll on Susan's bed, a nearly exact replica of Susan herself.

Though this may seem rather heavy-handed, when I've shown this sequence to students, most everyone ignores the doll in favor of the two protagonists.