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Danny DeVito's Hoffa is designed as an epic worthy of Orson Welles, a multigenerational tale of a powerful, little-understood man who rose from nothing and destroyed himself by subsuming his humanity. Interestingly, the seeds of this Citizen Kane-like ambition can be traced to some of DeVito's earliest directorial efforts, three episodes of Taxi: ''Jim's Mario's,'' about spaced-out heir Jim buying the cabbies' hangout; ''Sugar Ray Nardo,'' about Tony's teaching Elaine's son how to box; and ''Elaine and the Monk,'' about a doomed, week-long love affair. CITIZEN KANE Kane is an omnipotent publisher Oblique angles used to reflect state of mind Heir buys rundown newspaper Kane dances with showgirls Bernstein is heart, Leland is head ''Rosebud'' is a sled Yellow journalism
TAXI Louie is an omnipotent dispatcher Bleak garage used to reflect state of New York Heir buys rundown restaurant Elaine dances with monk Alex is heart, Jim is head case ''Everlast'' is a boxing helmet Yellow cabs
