[Originally published in Movietone News 38, January 1975]
What do Hitchcock’s Rebecca (1940) and Welles’s Citizen Kane (1941) have in common? Quite a lot, it seems to me. And yet, in all my reading on film, I have run across only one brief speculation on the subject: Andrew Sarris’s, in the context of his rebuttals to Pauline Kael’s Kane articles.
Both films, to begin with, deal with the search for a hidden secret in the life of an important man, and both use a flashback framework as means of narration (though Rebecca maintains a single point of view through most of its story, while Citizen Kane crisscrosses the memories of several characters in a network of flashbacks). Both films are informed by the presence of a dead person, though Charles Foster Kane is the central character in Welles’s film, while Hitchcock’s title character never appears. Nevertheless, each film’s ghostly presence is signaled by the recurrent motif of an initial-monogram, ‘R’ and ‘K,’ respectively. In each film a scandal—hushed up in Rebecca, headlined in Kane—attends the end of the important man’s first marriage, and overshadows his second marriage to a “common” woman.