Citizen Kane hooks the audience as soon as the snow globe is dropped and the word “Rosebud” is whispered. The audience is left in suspense and mystery lingers throughout the movie. Citizen Kane is a mystery; a mystery of Kane’s final words. But, Charles life was a mystery. He kept himself enclosed by moving far up into the mountains and didn’t want the press to know what he was truly like. The mood of this movie mimics just that. The silhouette of the reporter, the deep focus, and fade together of two scenes sets a dark and twist mood. As Citizen Kane unfolds, flashbacks from many main characters are revealed. This interesting technique gave depth to the movie. By having many different people tell the story of Charles Foster Kane, the audience is able to see him in multiple perspectives. For me, the flashbacks that stood out the most were the ones from the perspective of Susan Alexander, Charles Foster Kane’s second wife. What really grabbed my eye was the use of the camera angles. When Charles and Susan are fighting on their picnic it is clear that Charles is superior in the relationship. Orson Welles makes this clear by doing low angle whenever he pans to Kane and high angle whenever he pans to Susan. This gives the effect that Kane is above Susan, which he is. Charles is constantly making decisions for Susan and telling her what she can and cannot do. And, after Charles hits her, Welles changes the lighting. A shadow appears across Susan’s face making her look even more inferior.