Armond White: Citizen Kane or Vertigo, Which Is More Fun?
Citizen Kane held sway as the "Greatest Film Of All Time" for so long that a lot of people began to believe it (and some resent it). Orson Welles' 1941 feature film debut had often crowned polls by the American Film Institute and others including the British Film Institute's Sight & Sound critics poll (the world's oldest, first established in 1952) which just announced the aberrant new results.
Kane was never my favorite, yet it was a beautiful, dynamic choice. It had been a convenient winner due to historical pedigree. Generations of film-lovers (typified by Francois Truffaut's homage to Citizen Kane in Day for Night) agreed that Kane was "the movie that made more filmmakers want to make movies."
But Vertigo, Alfred Hitchcock's 1958 romantic tragedy, has inspired few filmmakers to make movies. (Try finding its visual lushness and aural extravagance among Indies!) And it's doubtful if Vertigo roused many film critics (camp-followers of said impoverished Indies and Hollywood blockbusters) to write more insightfully about cinema than did their dismissive 1958 predecessors. Most critics remain absolutely hostile to the sumptuous influence Vertigo had on Brian DePalma's postmodern Obsession, Body Double, Black Dahlia, Femme Fatale.
So Vertigo doesn't herald a revolution in cinematic appreciation; rather, it represents warped consensus. Its choice merely replaces Kane to show a new era's unoriginal taste and obsessive interest in pathology and soullessness that's been building in certain film cliques at least since the film's 1996 reissue. The herd mentality rules. (A Battleship Potemkin victory might convince me that a critical renaissance was afoot.)
If the past four political years has taught us anything, it's that polls don't assure excellence; they merely reflect spin. Vertigo congratulates today's pollsters' hindsight. Sight & Sound's editor Nick James analyzed: "The new cinephilia seems to be not so much about films that strive to be great art, such as Citizen Kane, and that use cinema's entire arsenal of effects to make a grand statement, but more about works that have personal meaning to the critic. Vertigo is the ultimate [millennial] critics' film because it is a dreamlike film about people who are not sure who they are but who are busy reconstructing themselves and each other to fit a kind of cinema ideal of the ideal soul mate. In that sense it's a makeover film full of spellbinding moments of awful poignancy that show how foolish, tender and cruel we can be when we're in love."
James inadvertently nails cinephilia's deterioration?from idealizing cinema that spoke to and edified the general public to solipsistic criticism that coddles a nihilistic, class-based coterie. (Critics unsure of who they are? Vertigo greater than the culturally prescient Psycho? Or the numinous The Birds?) To read the full review at City Arts [click here. ](http://cityarts.info/2012/08/03/g-o-a-t-topples/)
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