Lines From Orson Welles' Foreward To Marion Davies' Memoirs, In Order Of Misplaced Sonorousness
“Comparisons are not invariably odious, but they are often misleading.”
“The power of Onassis resided solely in his money.”
“If he had been ten times richer than he was, he would not now be primarily remembered for his millions.”
“And why?”
“This, of course, is a paraphrase.”
“In fact, it is the only purely Hearstian element in Citizen Kane.”
“This can be recognized not only as the true voice of power but also as a line of dialogue from a movie.”
“Let the incredulous take note of the facts.”
“There are parallels, but these can be just as misleading as comparisons.”
“That Susan was Kane’s wife and Marion was Hearst’s mistress is a difference more important than might be guessed in today’s changed climate of opinion.”
“There is no room here for details.”
“It was a real man who built an opera house for the soprano of his choice, and much in the movie was borrowed from that story, but the man was not Hearst.”
“To Marion Davies she bore no resemblance at all.”
“Theirs is truly a love story.”
“Love is not the subject of Citizen Kane.”
“As one who share much of the blame for casting another shadow — the shadow of Susan Alexander Kane — I rejoice in this opportunity to record something which today is all but forgotten except for those lucky enough to have seen a few of her pictures.”
“The proof is in this book.”
This introduction is one and one-half pages, references Citizen Kane on four separate occasions, spends two solid paragraphs recounting the “I’ll supply the war” anecdote everyone already knows, and is clearly written by a man who has not written the book proceeding it.
All right, you poindexters, let’s get this right. One: “Hey, hey, kids, it’s Orson Welles.” Two: “Hey, hey, Marion Davies wasn’t in Citizen Kane.” Again: “I made Citizen Kane.” Three: Aristotle Onassis is another rich man. Bada-bing, bada-boom, I’m done. Learn from a professional, kid. There’s your foreward. Who’s taking me to the Marmont?