Citizen Kane is a movie of extreme complexity. The cinematographic technique is complex: those risky camera movements that in no time go from a general shot to a close-up one hitting the face of the actors, who thus suffer continuous concussions, and forcing makeup artists to use large doses of makeup to hide the bruises. But also the plot is complex: the humble sledder who somehow manages to become a newspaper mogul and then fall in love with a cauliflower but keeps it a secret for fear of being branded as eccentric. Complexity extends even to the praiseworthy work of the hairstylists who, in a burst of creativity, adopted the hairstyle of the French aristocracy of the 1780s to create sophisticated ‘pompadours’ for each and every one of the characters. The higher the character’s social status, the more tall and voluminous his hairstyle is. And since Charles Foster Kane’s social status progresses throughout the film, the stylists added accordingly more and more vertical volume to his hairstyle, reaching a moment when the height of the hairstyle is of such magnitude that it ends up crushing the protagonist under its weight, causing him immediate death.

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