A prolonged
sequence shot in the dark towards the beginning of the film — an attack lit just by the strobe of an automatic flash — is impressively detailed.
Not exact matches
This even became a concern when Kane was reissued
in a «restored» version last year; actually the only changes were
in the brightness of some
shots, so that the opening newsreel wasn't as grainy and the projection - room
sequence wasn't as
dark — both obvious efforts to bring the movie closer to Hollywood norms.
Muted colours and scenic tones are stable
in each of the
shots, and the film's interior and exterior locations have balanced blacks and
dark blues, with the interior ship
sequence and various night
shots looking quite beautiful.