Chicago Bears

Recent Draft Picks: 2005. When Turner Entertainment announced plans to colorize the film, both public outcry and a previous clause written by Orson Welles himself led to these plans being cancelled. Super Bowl XX Championship Roster:. In the 1980s, the film became the catalyst in the fight against the trend of film colorization. The team is currently owned by Halas' daughter Virginia McCaskey and has been run on a day-to-day basis since 1999 by President and CEO Ted Phillips . Beatrice Welles also claimed that, if the courts did not uphold her claim of ownership, RKO nevertheless owes the estate 20% of the profits, from a previous contract which has not been lived up to. For the most part, the Bears have stayed in the Halas family. Her attorney said that Orson Welles had left RKO with an exit deal terminating his contracts with the studio, meaning that Welles still had an interest in the film and his previous contract giving the studio the ownership of the film was null and void.

Halas also coached the team off-and-on for forty seasons, an NFL record. In 2003, Orson Welles' daughter Beatrice sued Turner Entertainment and RKO Pictures, claiming that the Welles estate is the legal owner of the film. They were founded by George Halas, who maintained control of the team until his death in 1983. DVD version (released by Warner Home Video) is taken from another digital restoration, supervised by Turner. The Bears are one of the storied NFL teams. The 2003 British DVD edition is taken from an interpositive held by the British Film Institute. The current U.S. The Chicago Bears are a National Football League team based in Chicago. When the film became owned by Turner Entertainment (which bought the rights to the MGM and RKO film libraries), film restoration techniques were used to produce a pristine print for a 50th Anniversary theatrical revival reissue in 1991 (released by Paramount Pictures).

Cedric Benson Running Back - 1st Round 4th Selection - University of Texas. Until 1991, all existing theatrical prints of the film were made from copies of the original. Donnell Woolford. Welles's original master film negative of Citizen Kane was destroyed in a fire in the 1970s. Ed Sprinkle. Beginning in 1962, and every ten years since, it has been voted the best film ever made by the Sight and Sound critics' poll. Marcus Robinson. Many critics consider the film the best ever made; the American Film Institute ranked it #1 on its "100 Greatest Movies" list; it has been selected for preservation in the United States National Film Registry; and the film is consistently in the top 20 on the Internet Movie Database.

Doug Plank. Hearst had been successful in blacklisting Welles in Hollywood so that no studio would agree to work with him. Alan Page. For Welles, however, this was too late. Jim Osbourne. Critics world-wide began crediting it as among the best films ever made. Ed O'Bradovich. Although it was little seen and virtually forgotten until its revival in the 1950s, its critical fortunes have skyrocketed since.

Larry Morris. It should be noted that boos were heard almost every time "Citizen Kane" was referred to during the Oscars ceremony that year. Most of Hollywood did not want the film to ever see the light of day considering the threats that William Hearst had made if it did. Johnny Morris. It was nominated, however, for another eight awards:. Mike Hartenstine. Mankiewicz as the only Oscar awarded for the film. Raymont Harris. The 1941 Academy Award for Best Writing, Original Screenplay was shared by Welles and Herman J.

Jim Harbaugh. Swanberg's extensive biography entitled Citizen Hearst. Rick Casares. A. Mark Carrier. This connection was reinforced by the publication in 1961 of W. Doug Buffone. The irony of Hearst's efforts is that the film is now inexorably connected to him.

Marty Booker. Although these efforts damaged the film's success, they ultimately failed considering that almost every reference of Hearst's life and career made today typically includes a reference to the film's parallel to it. Neal Anderson. This struggle was, itself, turned into a movie, RKO 281. 77 Harold (Red) Grange. When RKO refused Hearst's offer, Hearst was so angry that he banned every newspaper and station in his media conglomerate from reviewing or even mentioning the movie. 66 Clyde (Bulldog) Turner. Roger Ebert, in his full-length commentary of "Citizen Kane," suggested that the Alexander character had very little to do with Davies, but, rather, that it was based on the wife of another famous man upon which the Kane character was developed.

61 Bill George. Davies was a gifted light comedic actress who was talked by Hearst into starring in pompous costume dramas many thought were out of her depth. 56 Bill Hewitt. On hearing about the film, Hearst offered RKO Pictures $800,000 to destroy all prints of the film and burn the negative. Although it's often said that Hearst was upset because the film was about him, one alternative theory is that Hearst was more upset about the portrayal of Davies (as talentless singer Susan Alexander) than himself in the film. 51 Dick Butkus. The most notable reference to Hearst comes early in the film, as Kane (played by Welles) provides a quote that mirrors Hearst's own comment on the Spanish American War: "You provide the pictures, I'll provide the war." (An often-debated Hollywood legend says that the reference to "Rosebud" was also an attack on Hearst: allegedly, it was a nickname used by Hearst to refer to the private anatomy of his mistress, Marion Davies). 42 Sid Luckman. Much of Kane's life is seen by critics as a fictional parody of (or attack on) media baron William Randolph Hearst.

41 Brian Piccolo (the subject of the film Brian's Song). He understood their desire to control projects and he knew they were expecting him to do an exciting film that would correspond to his The War of the Worlds radio broadcast. Welles' RKO contract had given him complete control over the production of the film when he signed on with the studio, something that he never again was allowed to exercise when making motion pictures. 40 Gale Sayers. During the filming (June 29, 1940 - October 23, 1940), Welles prevented studio executives of RKO from visiting the set. 34 Walter Payton. Kane's performance was shot by panning a camera upwards over the performance scene, matching it with a painting showing the upper regions of the house, and then matching it again with the scene of the workmen. 28 Willie Gallimore. For example, the scene where the camera in the opera house rises dramatically to the rafters to show the workman showing a lack of appreciation for the second Mrs.

7 George Halas. Welles also pioneered several visual effects in order to cheaply shoot things like crowd scenes and large interior spaces. 5 George McAfee. For example, in Erich von Stroheim's masterpiece Greed, the breakdown of the marriage of the main characters takes almost an hour of screen time, even in the most abbreviated cut. 3 Bronko Nagurski. Prior to this technique, filmmakers often had to use a long period of screen time to explain the character's changed circumstances. Cameron Worrell. In this way, Welles chronicled the breakdown of Kane's first marriage, which took years of story time, in a matter of minutes.

LeVar Woods. One of the story-telling techniques introduced in this film was using a series of jump cuts shot on the same set while the characters changed costume and make-up between cuts so that the scene following the cut would look as if it took place at a time long after the previous cut. Greg White. Since movies were primarily filmed on sound stages and not on location during the era of the Hollywood studio system, it was impossible to film at an angle that showed ceilings because the stages had none. Welles' crew used black cloth draped above the set to produce the illusion of a regular room with a ceiling, while the boom mikes were hidden above the cloth. Cliff Washburn. Another unorthodox method used in the film was the way low-angle cameras were used to display a point of view facing upwards, thus allowing ceilings to be shown in the background of several scenes. Bobby Wade. Anytime the deep focus was impossible—for example in the scene when Kane finishes a bad review of Alexander's opera while at the same time firing the person who started the review—Toland used an optical printer to make the whole screen appear in focus (one piece of film is printed onto another piece of film).

Nathan Vasher. This was done by legendary cinematographer Gregg Toland through his experimentation with lenses and lighting. Brian Urlacher. In nearly every scene in the film, the foreground, background and everything in between are all in sharp focus. Charles Tillman. The most innovative technical aspect of "Kane" is the unprecedented use of deep focus. John Tait. (Welles actually tripped and broke his ankle during the filming of that scene, but the scene continued and made it into the final print of the film.).

John Shivers. The film is even seen as one of the predecessors of method acting, as seen during the scene where Kane vents his anger at his political opponent, Jim Gettys, at the top of a flight of stairs. Nicholas Setta. Examination of the techniques used by Welles and his crew reveals elements of expressionism in the use of light and shadow, noting the influence of German and Russian filmmakers. Ian Scott. Griffith's The Birth of a Nation did in 1915). Darnell Sanders. W.

Fred Russell. Film scholars and historians view Citizen Kane as Welles' attempt to create a new style of filmmaking by studying the various forms of movie making, and combining them all into one (much like D. Ricker. Welles' from his stint at the Mercury Theater, such as Joseph Cotten and Agnes Moorehead. A.J. Mankiewicz -- though most film history circles consider Mankiewicz's contribution to the screenplay to be far greater than that of Welles), and a lineup of first time silverscreen actors, associates of Mr. Gabriel Reid. The film combines revolutionary cinematography (by Gregg Toland, whom Welles shared a title card with, which was considered a massive nod of approval for Toland's overall contribution to the film) with an Oscar-winning screenplay (by Welles and Herman J.

Marcus Reese. At the end we realize that the fragments are not governed by a secret unity: the detested Charles Foster Kane is a simulacrum, a chaos of appearances". Jerrell Pippens. Forms of multiplicity and incongruity abound in the film: the first scenes record the treasures amassed by Kane; in one of the last, a poor woman, luxuriant and suffering, plays with an enormous jigsaw puzzle on the floor of a palace that is also a museum. Shurron Pierson. Overwhelmingly, endlessly, Orson Welles shows fragments of the life of the man, Charles Foster Kane, and invites us to combine them and reconstruct him. Adrian Peterson. [Its] subject (both psychological and allegorical) is the investigation of a man's inner self, through the works he has wrought, the words he has spoken, the many lives he has ruined..

John Owens. What is revealed has been described by Jorge Luis Borges, in a 1941 review, as a "metaphysical detective story. Adewale Ogunleye. Kane's dying word, "rosebud". Joe Odom. The remainder of the movie is told through flashbacks being related to a reporter trying to improve the newsreel — the newsreel is regarded as functional but not especially profound, and furthermore the reporter is searching for the meaning behind Mr. Muhsin Muhammad. Kane dies in the opening scene of the film; this is followed by a newsreel pastiche documenting Kane's public life (this segment was produced by RKO's actual newsreel department).

Qasim Mitchell. As a result, Kane eventually alienates every loved one around him and dies a lonely recluse in an opulent, but crumbling estate. Fred Miller. Instead Kane has only "Love on my own terms". Terrence Metcalf. Produced in 1941, the film deals with the inability of Charles Foster Kane (played by Welles) to truly love. Todd McMillion. The only remaining living cast members are Buddy Swan and Sonny Bupp, who played Kane at age 8 and Kane's young son, respectively.

Jason McKie. She died on January 5, 2005. Brad Maynard. Ruth Warrick was the last main cast member still living. Alfonso Marshall. The movie has some parallels to the 1933 movie The Power and the Glory. Patrick Mannelly. The film premiered on May 1, 1941. Endlessly discussed and dissected by critics and viewers alike, this innovative film is perhaps the most influential ever in film history.

Dustin Lyman. Internally while it was under production, it was referred to as RKO 281. Bo Lacy. Welles maintained that the character is a composite of several historical individuals. Olin Kruetz. Citizen Kane is the first feature film directed by Orson Welles (he had directed two short films previously), and is loosely based on the life of the newspaper magnate William Randolph Hearst, the reclusive aerospace and movie mogul Howard Hughes, and the Chicago utilities magnate Samuel Insull. Craig Krenzel. In the video game Final Fantasy 6, in the part where Locke is asked to choose a password from 3 words, one of them is "Rosebud".

Kurt Kittner. In episode 137 of "Cheers" ("A Tale of Two Cuties", aired 1/21/88), Frasier, upset that the regulars have ruined the ending of the book he is reading, takes revenge by revealing the endings to several classic films in rapid succession, including the fact that Rosebud was Kane's sled. Kareem Kelly. In 2004 a documentary film titled Citizen Black detailed the career and downfall of newspaper baron Lord Conrad Black. Alain Kashama. In this show it became a recurring gag to make references to this film when Phoebe was in the scene. Tyler Jones. Ruth Warrick who played Emily Monroe Norton in Citizen Kane became better known later in her career for playing Phoebe Tyler Wallingford on the America soap opera All My Children from 1970 until her death in January 2005.

Thomas Jones. In an episode of the children's television show Arthur the rich Muffy has a sled identical to Kane's. Todd Johnson. A level in the computer game Oh No! More Lemmings is called Citizen Lemming. Tank Johnson. Several animated programs, including Animaniacs and Family Guy have revealed what "rosebud" is in a satirical manner; one of Family Guy's more memorable quotes involves Peter Griffin taping over the film and revealing the ending for the next viewer, exclaiming, "There, I just saved you two boring boobless hours.". Ron Johnson. In the children's television show The Adventures of Pete and Pete, Pete drops a snow globe in the episode Sick Day just like in Citizen Kane.

Bryan Johnson. In DVD commentary for another episode, one of the show's producers half-jokingly claims that all the Citizen Kane references made throughout the series could be pieced together to comprise the entire film from start to finish. Ben Johnson. The animated television program The Simpsons has had many, many references to Citizen Kane, including an episode entitled "Rosebud", which concerned tycoon Montgomery Burns recovering his teddy bear Bobo, which he had lost as a young man, ala Charles Foster Kane and his sled. Jonathan Jackson. The flash-backs to childhood in Oliver Stone's Nixon closely resemble Citizen Kane stylistically. Israel Idonije. It also features the "Charlie Kane" song in a breakdown.

Chad Hutchinson. The chorus, "it can't be love for there is no true love", is originally sung by the jazz band during the camping trip. Hunter Hillenmeyer. A young Kane yells the title while playing in the snow. MIchael Haynes. The White Stripes song "The Union Forever" is made up entirely of quotes from Citizen Kane. Tommie Harris. The last chapter of the comic book The Life and Times of Scrooge McDuck by Keno Don Rosa is heavily influenced by Citizen Kane.

Chris Harris. Russ Meyer's movie Up! - Sweet Li'l Alice (Janet Wood) says "rosebud" and looks at the camera after seeing the flower tattoo of Margo Winchester (Raven De La Croix). Rex Grossman. Best Sound, Recording - John Aalberg. Mike Green. Best Music, Scoring of a Dramatic Picture - Bernard Herrmann. Roberto Garza. Best Film Editing - Robert Wise.

Justin Gage. Best Director - Orson Welles. Carl Ford. Best Cinematography, Black-and-White - Gregg Toland. Jamin Elliott. Roland Fields, Van Nest Polglase, and Darrell Silvera. Steve Edwards. Academy Award for Best Art Direction-Interior Decoration, Black-and-White - Perry Ferguson, A.

Rob Droege. Best Actor in a Leading Role - Orson Welles. Quinn Dorsey. Academy Award for Best Picture - Orson Welles, producer. Ryan Dinwiddle. Alrese Currie.

Marc Colombo. Desmond Clark. Darrell Campbell. Jeremy Cain.

Ruben Brown. Mike Brown. Alex Brown. Lance Briggs.

Doug Brien. Mark Bradley. Alfonso Boone. Bernard Berrian.

Eddie Berlin. Cedric Benson. Keith Belton. Derrick Ballard.

Jerry Azumah. Bryan Anderson. Zack Abron. Otis Wilson.

Mike Singletary. Reggie Phillips. Ron Rivera. Mike Richardson.

William Perry. Steve McMichael. Wilber Marshall. Dan Hampton.

Leslie Frazier. Gary Fencik. Dave Duerson. Richard Dent.

Keith Van Horne. Tom Thayer. Matt Suhey. Walter Payton.

Emery Moorehead. Jim McMahon. Dennis McKinnon. Jay Hilgenberg.

Willie Gault. Mark Bortz. Jim Covert. Maury Buford.

Kevin Butler.