Similarities Between Citizen Kane and The Long Voyage Home
Toland had already had experience with heavy in-camera compositing, and many of the shots in Kane look similar in composition and dynamics to a number of shots in John Ford's The Long Voyage Home.
For instance, both movies contain shots that create an artificial lighting situation such that a character is lit in the background and walks or runs through dark areas to the foreground, where his arrival triggers, off-screen, a light not on before. The result is so visually dramatic because a character moves, only barely visible, through vast pools of shadow, only to exit the shadow very close to the camera, where his whole face is suddenly completely lit. This use of much more shadow than light, soon one of the main techniques of low-key lighting, heavily influenced film noir.
The Long Voyage Home and Citizen Kane share a number of other striking similarities:
- Both films allowed lenses at times to distort faces in close-up, especially during low-key lighting sequences described above.
- Sets, both interiors and exteriors, were lit mostly from the floor instead of from the rafters high above. A radical departure from Hollywood's traditional lighting, this technique also took much longer to execute, thus contributing significantly to production costs. However, the effect was strikingly more realistic, since light sources placed closer to the characters allowed softer lighting, which lights placed far above the set could not produce.
- Both directors, Welles as well as Ford, put Toland's credit as cinematographer on screen at the same time as their own credit as director (director/producer in Welles's case), an unusual and conspicuously generous tribute; in both films, Toland's credit was also the same size as the director's.
Read more about this topic: Gregg Toland
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