America's Genghis Khan - Citizen Kane (Part 2)

Apparently, I was drastically off by fourteen minutes the last time I posted; we stopped at twenty-minutes yesterday, and probably stopped at roughly forty today. All in all, I have much more material to cover.
So we finally have the answer why Charles Kane went to another guardian. If Mr. Thatcher's account is to be believed, the elder Mr. Kane was a drunk and Mrs. Kane wanted to plan an escape for some time now. Then again, I don't blame little Kane for reacting like he did. I'd try attacking them too if I were him; he obviously didn't know a single thing about being sent away. It's traumatizing for a ten year old boy.
This raises the question I had from yesterday: Of all people, why would Mr. Thatcher become Kane's new guardian? And also, why did Mrs. Kane consider sending him away when she could've divorced or left her reprobate of a husband easily? I guess we'll never know...
His old sled could represent his lost innocence, and the new one he gets for Christmas could be materialism (we see a lot of this in the next section). We're also introduced to organic transition; I'd love to see how they did that because it probably took plenty of time to film. They obviously used fake snow, but how long did the camera crew have to wait to achieve this? Let's see if Mr. Bennett and the rest know.
Then there are some quotes I want to discuss, like Charles Kane's remark to one of his workers at the Enquirer, where he tells him "You provide the prose poems, I provide the war." Though it foreshadows his later support of the Spanish-American conflict, it shows that all ties between Thatcher and Kane are broken. The rest will be destroyed as well, but this is another story for tomorrow. He's only twenty-five, and he is already one of the biggest giants New York has ever seen. Yet, as we know, success comes with a price. He confides that his "mother should've chosen a less reliable banker" and that if he "hadn't been rich," he might've been a "really great man." In a way, he is great; he acquires wealth faster than today's billionaires and controls not only newspapers, but later radio stations as well. However, if Thatcher's account's to be believed, he may've let the power make a jerk out of him. He says he speaks for the people, yet there are times when he speaks only for his own interests.
There is also another hint of foreshadowing from Mr. Bernstein, a former confidante of Thatcher and Kane, who tells the reporter "A fellow would remember a lot of things you wouldn't think he remember." I'm thoroughly convinced that he is there for comic relief; he is the one who has to carry Leeland and Kane's things and also gets a little troubled at times. I see very little reason for his existence, other than to provide another vantage point on Charles Foster Kane. It would've been interesting to see it from Jed Leeland's point of view, but he has already killed himself at this point. This leads into another quote, which takes place at a party celebrating the consolidation of the Chronicle paper. Kane may've been jesting with "you don't expect me to keep any of my promises, do you?", but it greatly foreshadows his corruption from acquiring so much wealth, more than any man his age could ever dream of. The showgirls also represent the gaudiness of materialism and power. When he is carried away by these women, he is also carried away by his fortune.
These are my remarks for now, but there will be more much later. Maybe I'm wrong about Bernstein, and maybe I overanalyze things a bit too much, but let us see what happens next. Let's see what "Rosebud" truly means and how far Kane's power will take him, as well as what he did to Susan to make her go from an opera singer to a performer at a sleazy night club.