Now that Fantasound has left Boston forever, as they tell us, the Majestic is continuing to play host to the unusual in entertainment with "Citizen Kane," the much-publicized debut of Orson Welles which has been boycotted by the Hearst papers ever since Louella Parsons noted a likeness between the careers of her boss and the protagonist. And the ex-boy genius has done it again, producing a picture the like of which has ne'er been seen before hereabouts.

From the very beginning of his saga of Charles Foster Kane, when he plunges straight into the story after the title is flashed on the screen, with none of the usual dreary lists of associate producers and wardrobe mistresses, Welles kicks over the time-tested customs of movie-making, employing unusual angle shots, unique lights and shadows, and dramatic flashbacks--a device which has rarely been so effectively exploited.

Yet these new techniques are not the only merit of this extraordinary picture. One of Hollywood's weaknesses in the past has been its inability to develop character with the insight of a good stage-play. But Welles builds his picture around a character study of his central figure, showing every side of the complex Kane. The picture evolves from the attempts of the producer of the March of Time (News on the March in the film) to find the significance of the millionaire Kane's dying word, "Rosebud." As the reporter questions the people who knew him best, trying to link together the scattered fragments he uncovers. Kane's story is gradually unfolded by flashbacks until the meaning of the word is finally revealed to the audience, if not to the investigator.

Although once again Orson the actor takes second place behind Orson the producer-director, his portrayal of the central role is carefully delincated and Welles is equally convincing as a bald, broken old man as he is playing the young Kane just entering the publishing business. The other players, all experienced actors from Welle's Mercury company rather than the good-looking histrionic greenhorus who infest most Hollywood productions, take full advantage of the meaty supporting roles provided for them by a hard-hitting script.