When Orson Welles’s Citizen Kane appeared in 1941, the film’s disastrous opera singer, Susan Alexander Kane, was widely associated with real-life heiress and singer Marion Davies. Brulatour was reportedly furious because he believed the character also drew on elements of the careers of his wives, Dorothy Gibson and Hope Hampton—both women whose film ambitions gave way to opera, and both of whose artistic careers were encouraged and financed by him. The parallel was especially uncomfortable: Hope, Brulatour’s third wife, had become a society celebrity known for extravagant entertaining, while Gibson had been a silent-film star and Titanic survivor whose later opera ambitions never matched her screen fame. The claim that the fictional singer was partly based on either woman belongs to the realm of disputed Hollywood lore rather than established fact. The historical truth is that the resemblance was noticed, Brulatour was said to resent it, and Citizen Kane became another chapter in the strange overlap between his private relationships, his wives’ failed or abbreviated performance careers, and the entertainment industry’s habit of turning recognizable social types into caricature.
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