9.9 Citizen Kane, Bernard Herrmann, and Early Film Scoring

Citizen Kane: Music, Storytelling, and Bernard Herrmann

• Context and focus

  • Chapter 11 coverage centers on four movies, with a focus on Citizen Kane; other films mentioned include The Devil and Daniel Webster, House of Lanka, and Bernadette’s, but Kane is the primary example in this lecture.
  • Composer for Citizen Kane: Bernard Herrmann.
  • The discussion places Kane in a modern-feeling 1941 context, contrasting with the older epics like Gone With the Wind and The Wizard of Oz.
  • Herrmann is presented as a major figure in film music history, often considered a Mount Rushmore-level composer alongside other greats in the field.
  • The instructor signals that more Hitchcock collaborations and other directors’ work (e.g., John Williams with Spielberg) will be covered later; Herrmann is closely associated with Hitchcock, though he also worked with others.

• Orson Welles and Citizen Kane: basic facts

  • Orson Welles is the director, writer, and star; the film is about a fictional character named John Foster Kane, inspired by William Randolph Hearst.
  • The narrative is told largely in flashback, beginning with Kane’s death and a reporter named Thompson seeking to uncover the meaning of Kane’s last word, "Rosebud."
  • Kane’s life is explored through six perspectives: Thatcher, Bernstein (business partners), Leland (best friend), two wives, Susan Alexander (second wife), and Kane’s butler, with Thompson linking these stories.
  • The plot structure emphasizes a fragmented, multi-perspective approach, culminating in the revelation around Rosebud.

• Hearst parallels and real-world context

  • William Randolph Hearst was a famous newspaper magnate, associated with yellow journalism (slanted, bias-driven reporting).
  • Hearst Castle in California is a real landmark; its extravagant, expansive estate mirrors Kane’s wealth and power themes.
  • The film parodies Hearst’s life and control of the media; Hearst tried to suppress the film, instructing his papers not to review it, which created early media drama around the film.
  • Patty Hearst’s later kidnapping incident is referenced as part of Hearst family lore, illustrating the broader cultural memory surrounding Hearst.
  • The film’s satire targets wealth, media influence, and the emptiness of material power; the ending suggests happiness and meaning aren’t bought by money.

• Music in Citizen Kane: high-level approach

  • The score is not wall-to-wall throughout the film; it’s used to support dramatic and psychological undertones and to punctuate moments rather than dominate the soundtrack.
  • Bernard Herrmann’s approach emphasizes mood, silence, and mood-driven scoring that complements dialogue and on-screen action.
  • The score contributes to the unity of the film and helps portray the emotional states of characters, particularly in intimate, introspective moments.

• Bernard Herrmann: biography and career trajectory

  • Born in New York; trained at the Juilliard School of Music.
  • By age 20, he founded and conducted a chamber orchestra and went on to guest conduct for major orchestras, including the New York Philharmonic.
  • Beginning in 1934, he worked as an arranger/conductor for CBS Radio, where he met Orson Welles.
  • Herrmann contributed musical numbers for Welles’s War of the Worlds radio broadcast; invited to compose the music for Citizen Kane when the film was produced.
  • Later collaborations included Alfred Hitchcock (e.g., Psycho, Vertigo, North by Northwest), Martin Scorsese (Taxi Driver, etc.), and others.
  • Notable film scores: Citizen Kane (1941), The Devil and Daniel Webster, Magnificent Ambersons, The Ghost of Mrs. Muir, The Day the Earth Stood Still, The Man Who Knew Too Much, Vertigo, North by Northwest, Psycho, Taxi Driver. He received Academy Award nominations for several of these works and won for The Devil and Daniel Webster.
  • Herrmann’s death occurred around the time of Psycho’s release; he did not live to see all of his later achievements realized.

• Technique and orchestration in Kane’s score

  • The opening credits: a bold statement that evokes a trumpet fanfare, but the score quickly shifts to a more restrained, psychologically driven mood.
  • The original opening overture is sprightly and newspaper-like, suggesting typewriter sounds and newsroom energy rather than heroic triumph; it foreshadows the media world of Kane.
  • The score for the montage of Kane’s death employs small ensembles (flutes, bassoons, muted brass) and clustered chords, creating a stark, ominous atmosphere that mirrors the bleakness of the moment.
  • Herrmann uses a contrast between light and dark, both musically and visually, to emphasize Kane’s rise to power and subsequent decline.
  • The musical language includes dissonant harmonies and lower-register sonorities to heighten the foreboding mood and complement the black-and-white visuals.

• The film’s musical texture and leitmotifs

  • Leitmotifs appear for major characters and themes; these are reworked across scenes to reflect Kane’s changing life stages.
  • The score’s melodic material overall tends toward episodic, emotionally taut expressions rather than a warm, lyrical continuum.
  • A memorable domestic scene—the breakfast sequences—uses variations of a romantic/melodic motif to reflect Kane’s marriage to Susan; across six breakfast settings, a single main theme is varied to reflect different emotional tones.

• Philosophical and cinematic implications of the score

  • The music supports the film’s exploration of identity, memory, and loss rather than merely accompanying action.
  • Herrmann’s approach foregrounds psychological state; the score often yields its emotional effect through restraint, silence, and carefully placed musical cues.
  • The combination of innovative camera work and a psychologically oriented score helps Kane stand as a landmark in American cinema and film scoring.

• Film noir language and Kane

  • Kane is discussed as a film noir example, albeit in a broader sense of its dark mood, mood-driven storytelling, and visual style (high-contrast light/dark, oblique shots, depth of field).
  • The film noir label is noted as a broader genre descriptor; this score contributes to the mood without typical, propulsive action scoring.

• Key terms and concepts to know (glossary-style)

  • Film noir: a style defined by voice-over narration, flashbacks, central mystery, high-contrast lighting, mirrors, tilted camera angles; often associated with black-and-white visuals and urban mood.
  • Leitmotif: a recurring musical theme associated with a character or idea.
  • Monophonic, homophonic, polyphonic: texture terms used to describe how musical lines relate.
  • Dies Irae: a Gregorian chant associated with death and judgment, used as a reference point for death-related scenes.
  • Deep focus and montage: visual techniques that Kane uses to enhance narrative depth and thematic complexity.

• Alexander Nevsky (1938) and Sergei Prokofiev: a contrasting example

  • In the same class, the instructor introduces Alexander Nevsky (1938), a Russian/Soviet wartime epic directed by Sergei Eisenstein with score by Sergei Prokofiev.
  • The scene described: a brutal battle on ice, with bodies breaking through ice; a visually dramatic, epic sequence with a massive orchestral sound and choir.
  • Prokofiev’s score for Nevsky is described as heroic, monumental, and influential in later epic cinema; it’s a canonical example of Prokofiev’s orchestration that later influenced film music in genres like fantasy and space opera.
  • The influence on later cinema: the style provided a blueprint for the grand, orchestral epic sound that audiences associate with heroic battles and mythic cinema (the speaker specifically notes influence on Star Wars’ Empire Strikes Back-era battles on snow/ice settings).
  • Important names: Sergei Eisenstein (director), Sergei Prokofiev (composer).
  • The score for Nevsky uses full orchestral forces and chorus to generate a large, heroic sound that became a template for epic-scale film music.

• Comparisons and connections to other composers and films discussed in the course

  • Korngold (Erich Wolfgang Korngold): used strong leitmotifs; Arrow-shot leitmotifs noted for King’s archery cue; Korngold’s influence on later film composers (notably echoed in John Williams’s scores).
  • Max Steiner: known for King Kong (1933) with memorable leitmotifs; Gone with the Wind (1939) with Terra motif representing the plantation; Steiner’s music used wide intervallic leaps to evoke vast landscapes; Mammy’s ragtime motif as a rhythmic contrast; Scarlett O’Hara’s father as an Irish-sounding leitmotif; the idea of representing culturally specific identities through leitmotifs.
  • Wizard of Oz (1939): Herbert Stothart credited with much of the music; practical use of existing songs (Be It Ever So Humble); the beaming themes for Dorothy’s longing with Somewhere Over the Rainbow (Harold Arlen) and the Be It Ever So Humble song; the use of popular tunes as part of the score.
  • Thematic connections across these scores emphasize how leitmotifs, borrowed tunes, and orchestration choices create mood, character identity, and narrative emphasis.

• Recap of the week’s material and upcoming topics

  • Chapter 9: Korngold (Korngold) and Steiner; discussion of leitmotifs, their use, and cross-influences with modern composers like John Williams.
  • Chapter 10: The Wizard of Oz; analysis of Stothart’s role, the use of songs, and how popular songs are integrated into the score.
  • Chapter 11: Bernard Herrmann and Citizen Kane; key ideas include Rosebud as a leitmotif, the discourse about the film’s status as a great American film, and the film’s psychological scoring approach.
  • Chapter 11 also includes review of film-noir language, and the way Herrmann used diminished orchestration (small ensembles) to evoke mood and foreboding.
  • Chapter 12: Alexander Nevsky and Prokofiev; the epic, battle-music approach and its influence on contemporary cinema.
  • Quiz: There is a quiz covering chapters 9–12; students are encouraged to complete it before the next class.
  • Scheduling note: The instructor mentions a potential cancellation due to personal issues but expects to hold class; students should check email for updates.

• Quick notes on terms and definitions to memorize

  • Film noir: a genre/style defined by voice-over narration, flashbacks, central mystery, stark light/dark contrasts, mirrors, tilted camera angles.
  • Leitmotif: a recurring musical theme associated with a character, idea, or situation.
  • Dies Irae: a Gregorian chant associated with death and judgment, often used to evoke mortality.
  • Monophonic vs. polyphonic vs. homophonic texture: one line (monophonic) versus multiple independent lines (polyphonic) versus a single melody with accompaniment (homophonic).
  • Deep focus: a cinematographic technique featured in Kane that keeps both foreground and background in sharp focus, enabling complex compositions and storytelling.

• Numerical and factual anchors (LaTeX-formatted)

  • Year of Citizen Kane: 1941
  • Hearst Castle price and acreage cited: 30{,}000{,}000 (dollars) and 240{,}000 acres
  • The Kane plot is described as told from 6 perspectives
  • Prominent film scores referenced span multiple decades, with key works from the 1930s–1970s

• Final takeaway from the lecture

  • Bernard Herrmann’s score for Citizen Kane demonstrates how music can shape psychological interpretation and moral inference without overwhelming the narrative.
  • The score complements the film’s innovative storytelling and visual style, contributing to Kane’s reputation as a landmark of American cinema and a touchstone in film music history.

Bernard Herrmann: Biography, Collaborations, and Musical Philosophy

• Early life and training
  • Born in New York; Juilliard School of Music; founded and conducted a chamber orchestra by age 20.
• Career trajectory
  • Early work as arranger/conductor for CBS Radio; met Orson Welles there.
  • War of the Worlds broadcast: Herrmann contributed musical numbers for this widely known broadcast.
  • Citizen Kane (1941): invited by Welles to compose the score; established his film-scoring career.
  • Later collaborations include Alfred Hitchcock (Psycho, Vertigo, North by Northwest) and Martin Scorsese (Taxi Driver).
• Legacy and stylistic traits
  • Known for psychological depth and mood-driven scoring; willingness to deviate from conventional full-orchestra approaches when script demands it (e.g., sparse, dissonant textures during tense or introspective moments).
  • Emphasis on orchestration choices that mirror psychological states and narrative tensions.
  • His death occurred around the time Psycho was released; he left a significant, lasting impact on film music.

Film Noir and Musical Language in Citizen Kane

• What is film noir?
  • A term used to describe a style of crime drama featuring hard-edged cynicism, urban settings, and a distinctive visual and narrative approach; in music, it translates to moody, often sparse scoring that enhances psychological tension.
• How Kane fits film noir in music and visuals
  • The score leverages low, dark timbres and dissonant chords to match Kane’s inner turmoil and the film’s darker themes.
  • The opening sequence and key flashbacks use musical textures that are less about heroism and more about foreboding and moral ambiguity.
• Sound design and musical texture in Kane
  • The overture at opening credits contrasts with the rest of the score, signaling a newsroom energy before settling into psychological mood.
  • The Dies Irae reference and other somber melodic devices help foreshadow death and the fading of Kane’s power.

Overture, Dies Irae, and Leitmotifs in Citizen Kane

• Overture and newsroom mood
  • The overture evokes a newspaper atmosphere—quick, energetic, and heralding a modern metropolis—while hinting at a deeper, darker narrative beneath.
  • The opening cue is intentionally different from the rest of the score, signaling the film’s distinctive tonal approach.
• Dies Irae and death imagery
  • Dies Irae (a traditional chant) appears as a tonal and thematic reference to death and judgment, aligning with Kane’s mortality and the moral weight of his life.
• Leitmotifs and character themes
  • Kane’s life is tracked through a set of musical ideas that reappear and transform across the film’s timelines.
  • The breakfast montage for Susan and Kane uses variations of a core melodic idea to reflect evolving emotional dynamics.

Ending and the Rosebud Motif

• The ending structure
  • The anonymous reporter’s pursuit of meaning behind Rosebud frames the final movement of the film.
  • A montage structure ties together six key life episodes as different characters recount their experiences with Kane.
• Rosebud as a leitmotif
  • Rosebud is introduced as Kane’s last word and reappears as a central motif tied to memory, happiness, and lost childhood.
  • The memory motif is visually reinforced by the sled Rosebud from Kane’s early life, which appears in the snow scene and later in the burned possessions toward the end.
• The ending’s moral and musical resonance
  • The ending juxtaposes wealth and material objects with the simplicity of a single childhood memory, implying that true happiness cannot be bought.
  • The final line, “a missing piece in a jigsaw puzzle,” underscores the impossibility of fully reconstructing a life from fragments, even with the most extensive archive of experiences.
• Thematic synthesis
  • Opening Rosebud imagery (snow globe) and closing Rosebud memory (sled) create a cyclical arc that links Kane’s beginnings and endings, uniting the film’s themes of memory, identity, and the elusive meaning of life.

The Real-World Context: Hearst Parallels, Cultural Impact, and Ethical Reflections

• William Randolph Hearst and the film’s satirical target
  • Hearst’s real-life role as a newspaper magnate, his use of sensational journalism, and the empire he built are mirrored in Kane’s character and media control.
  • The character of Susan Alexander Kane parallels Marion Davies, Hearst’s partner in life and film; the portrayal includes problematic depictions such as her drinking and mischaracterizations that reflect historical debates about Davies.
• Hearst Castle as cultural symbol
  • Hearst Castle functioned as a real embodiment of Hearst’s wealth and taste; it’s referenced as a tangible backdrop to Kane’s fictional empire.
• Controversy and censorship history
  • Hearst reportedly told his newspapers not to review Kane, demonstrating an early, notable clash between cinema and media power.
• The film’s legacy in American cinema
  • Citizen Kane is widely regarded as America’s greatest film by some critics and scholars; it's seen as a high point of the golden age of cinema while engaging with contemporary trends in its own time.

Alexander Nevsky (1938) and Sergei Prokofiev: War Epic Score and Cinematic Influence

• Basic facts
  • Alexander Nevsky is a 1938 Russian/Soviet wartime epic directed by Sergei Eisenstein; score by Sergei Prokofiev.
  • The film is a stylized historical epic about medieval battles, including a famous battle on the ice scene, with a dramatic, heroic musical language.
• Prokofiev’s approach and sonic palette
  • The score features a full orchestra and chorus, producing a grand, monumental sound that defines the epic scale.
  • The music is described as heroic, dramatic, and influential for later epic cinema (the instructor notes its influence on later visual storytelling, including Star Wars’ ice-battle sequences).
• Cinematic and historical context
  • The film sits within a pre-World War II context when the Soviet Union was aligned with anti-Nazi coalitions but before the outbreak of full-scale war with Germany.
  • Eisenstein’s direction and Prokofiev’s score together create a powerful cinematic language that has influenced generations of filmmakers.
• Why this matters in film music study
  • Nevsky provides a counterpoint to Kane: a demonstration of how a monumental, robust, orchestral score can drive a sweeping historical epic, in contrast to the psychologically oriented, restrained approach of Hermann in Kane.

Recap: Cross-Chapter Themes, Terminology, and Quiz Context

• Cross-chapter through-lines
  • Leitmotifs: across Korngold, Steiner, and Hermann, leitmotifs serve as musical identities for characters and ideas.
  • Use of existing tunes vs. original score: Wizard of Oz’s Be It Ever So Humble and Somewhere Over the Rainbow illustrate how existing songs and popular tunes can function alongside original scoring.
  • The shift from late-1930s to early-1940s scoring styles, with a move toward psychological nuance (Kane) and grand epicism (Nevsky).
• Summary of the composers discussed and their signature contributions
  • Korngold: strong leitmotifs; inventive orchestration; connection to modern film traditions (Star Wars, Superman) via John Williams.
  • Max Steiner: King Kong and Gone with the Wind; Terra motif for the plantation; ragtime for Mammy; regal, marching themes for political and military figures.
  • Harold Arlen and Oz’s songs (Somewhere Over the Rainbow) and other songs quoted by Stothart and collaborators; Be It Ever So Humble as a folk-melt across Oz.
  • Bernard Herrmann: Citizen Kane; film-noir mood; sparse orchestration in key moments; Dies Irae usage; early collaboration with Welles; later Hitchcock collaborations highlighted in upcoming lectures.
  • Sergei Prokofiev: Alexander Nevsky; monumental, heroic score contributing to cinematic epic scale.
• Practical takeaways for exam preparation
  • Understand how music supports mood, psychology, and narrative goals rather than simply accompanying visuals.
  • Be able to define terms: film noir, leitmotif, Dies Irae, deep focus, montage, monophony/homophony/polyphony.
  • Recognize how historical contexts (Hearst vs. Kane; Soviet cinema vs. Hollywood) shape the use of music in film.
  • Recall specific film-score examples and their musical traits (e.g., Kane’s restrained, mood-driven score; Nevsky’s grand choral/ orchestral sound).
• Quiz and class logistics
  • A quiz covering chapters 9–12 is available and should be completed before the next class.
  • The instructor plans to continue with more Hitchcock material and foreign-film discussions; check email for any class changes due to personal issues.

Quick reference: key figures and works mentioned

• Bernard Herrmann: Citizen Kane (1941); later scores for Hitchcock (Psycho, Vertigo, North by Northwest); Taxi Driver; Magnificent Ambersons; The Day the Earth Stood Still; The Man Who Knew Too Much; The Ghost and Mrs. Muir.
• Orson Welles: director/writer/star of Citizen Kane.
• William Randolph Hearst: real-life inspiration for Kane; yellow journalism icon; Hearst Castle in California.
• Sergei Eisenstein: director of Alexander Nevsky (1938).
• Sergei Prokofiev: composer for Alexander Nevsky.
• Korngold (Erich Wolfgang Korngold): leitmotifs in early film scores; Robin Hood (1938) discussed.
• Max Steiner: King Kong (1933); Gone with the Wind (1939); Terra motif; Mammy’s ragtime motif; Scarlett O’Hara leitmotifs.
• Harold Arlen: Somewhere Over the Rainbow; Dorothy’s longing in The Wizard of Oz (1939).
• Wizard of Oz collaborators: Harold Arlen (Somewhere Over the Rainbow), Be It Ever So Humble (folk song), Stothart (main composer in part).
• James Bond-era reference influence: John Williams (as a future continuation of the film-music tradition).