New York Times: For Chaplin, This Is Just the Latest of Modern Times
Bruce Calvert
For Chaplin, This Is Just the Latest of Modern Times
By DAVE KEHR
IT is time again to talk of Charles Spencer Chaplin, as it is every decade or so
when the group of Chaplin films owned by his estate return to distribution. In
the early 1970's, the occasion was the return of Chaplin's major features to
American movie theaters, after he had withdrawn them in bitterness over his
political persecution by the United States government in the 1950's for
suspected Communist leanings. In the 1980's, CBS-Fox released the films on VHS
and Laserdisc. And now, a first group of four Chaplin features — "The Gold Rush"
(1925), "Modern Times" (1936), "The Great Dictator" (1940) and "Limelight"
(1952) — has been issued on DVD by Warner Home Video in magnificently restored
versions produced by the current license holder of the films, the French company
MK2.
Each time the Chaplin films reappear, they encounter a new generation of
filmgoers, by now quite distant from the original audiences who made Chaplin's
Little Tramp perhaps the most famous figure in the world in the 1910's and
1920's. (His early one- and two-reelers are in the public domain and are
available in a number of video versions that vary widely in quality.) For the
general public of 2003, Chaplin's image is probably more familiar from its use
in a series of IBM commercials than from any of his own work.
Does Chaplin still matter? For anyone concerned with the art of the movies, the
answer must be yes. Certainly, some of the content of these films has dated.
Chaplin was himself a product of the late Victorian era, born in 1889 into
Dickensian squalor (his father was an alcoholic music hall entertainer, his
mother was confined to an asylum). And the reference points in many of his
movies — orphanages, workhouses, impossibly innocent heroines and
moustache-twirling heavies — must have seemed even to the audience of the 1910's
like relics of Victorian stage melodrama.
But Chaplin's themes are timeless and universal. The "Modern Times" DVD
includes, among a wealth of other extras, an interview with the Belgian
filmmakers Luc and Jean-Pierre Dardenne, whose own socially engaged cinema finds
many intersections with Chaplin's. As the Dardenne brothers point out, the
essential crisis facing the tramp is to find something to eat and someplace to
sleep, a topic that continues to be of the most immediate concern to a large and
growing portion of the world's population. Chaplin's ultimate subject is both
the survival of an individual in a vast, uncaring social and economic system and
the survival of a human spark — of invention and revolt — within a mechanized
mass culture.
"Modern Times," Chaplin's most overtly political film, is one of only a handful
of movies from the Depression years to cast the nation's economic woes as the
outgrowth of class divisions; one of the few to raise the specter of Communism
(albeit comically, in a sequence in which the tramp finds himself leading a
strike march when he accidentally picks up a red flag); and perhaps the only one
to show policemen as thuggish enforcers for big capital. Only Chaplin's special
position in Hollywood — he owned his own studio, financed his own films and
released them through a distribution company, United Artists, which he helped
found — allowed him to handle such touchy subjects, and allowed him, as well, to
include sexual and scatological jokes that would not have passed most studio
censors.
Chaplin was also powerful enough to resist the talkie revolution of 1927,
releasing both "City Lights" (1931) and "Modern Times" (1936) essentially as
silent films accompanied by music, sound effects and a few snatches of dialogue.
But by going back in time, Chaplin could also seem strikingly modern. In the
20's and 30's, when Hollywood had perfected the techniques of invisible editing
and seamless narrative structure, Chaplin continued to insist on conspicuous
camera movements, emphatic editing and a distinctive, episodic structure that
rendered his work not so much a smooth succession of scenes flawlessly melded
together as a succession of more or less self-contained segments.
"Modern Times," for example, can be divided into a series of all-but-independent
short subjects — "Charlie and the Assembly Line," "Charlie in Jail," "Charlie
the Night Watchman," "Charlie the Singing Waiter" and so on. For a few Chaplin
bashers (including Pauline Kael), this was proof of his inability to transcend
the format of his early one- and two-reelers. But the format is also that of the
English music hall tradition into which Chaplin was born (and which he entered
professionally at the age of 8). Here is the succession of acts, mixed and
matched with the skill of an impresario: a slapstick comedy routine, followed by
a romantic interlude, a musical number, a comic character sketch, a dance
routine and a bit of old-fashioned melodrama.
Even Chaplin's most bombastic film, "The Great Dictator," finds room for
everything from lowbrow slapstick (storm troopers banged on the head with frying
pans) to a dance sequence. The storytelling stops cold for five minutes while
Chaplin's Hitleresque dictator, Adenoid Hynkel, performs an elegant, lyrical
solo with a balloon painted to resemble a globe, a moment of pure grace that
would not seem out of place at the ballet.
A wholly self-educated man, Chaplin instinctively resisted the literary models
that the Hollywood studios forced more and more on movies in the 20's and the
30's, and arrived at an alternative structure that bore more than a passing
(though probably coincidental) relationship to Brecht's epic theater, a form
that emphasized its own artifice, that declined psychological realism and
scrambled high and low culture into a mélange not far removed from today's
post-modernism. All this, in a frontal attack on European fascism and
anti-Semitism that none of the studios, terrified by the prospect of losing
their overseas markets, had dared to make before the official declaration of war
(one exception was Warner Brothers' "Confessions of a Nazi Spy," released as
Chaplin was filming "The Great Dictator").
The four films in this first set (other volumes are forthcoming) have each been
transferred to video with tremendous care. The "Modern Times" disc uses, for
example, the new digital restoration of the film just completed by the Bologna
Cinémathèque, with a full range of gray tones, sharp grain and a crystal-clear
soundtrack. "The Gold Rush" is presented in both its original 1925 silent
version and the 1942 reissue version, which Chaplin narrates with charmingly
belated verbosity. "Limelight," the last film that Chaplin was to make in
America (1952), comes with "The Professor," an unfinished 1919 short that became
the basis for the flea circus routine in "Limelight," as well as 16 minutes of
Chaplin family home movies.
Six more titles will be released by Warners, including "The Kid" (1921), "City
Lights" (1931) and "A King in New York" (1957). On film, on tape or on discs,
these idiosyncratic films continue to delight and fascinate. Chaplin was one of
the cinema's first artists; he will always be among its greatest.
Bruce Calvert
--
Visit the Silent Film Still Archive
http://home.comcast.net/~silentfilm/home.htm
Remove the "xspam" to reply
Ulrich Ruedel
> "Modern Times," Chaplin's most overtly political film,
Isn't that a pretty odd statement, considering DICTATOR, VERDOUX and KING
IN NY?
And re. GR:
> which Chaplin narrates with charmingly
> belated verbosity.
Uh uh ;-)!
Uli
Constance Kuriyama
> > "Modern Times," Chaplin's most overtly political film,
>
> Isn't that a pretty odd statement, considering DICTATOR, VERDOUX and KING
> IN NY?
Sloppy journalistic hyperbole.
> And re. GR:
>
> > which Chaplin narrates with charmingly
> > belated verbosity.
>
> Uh uh ;-)!
Well, at least he thought it was charming. I always have.
>
> Uli
Who are the moustache-twirling villains, by the way?
I can't think of a one in the features, except maybe
the Ringmaster in _Circus_, and I don't think we're to
take the ones in the Essanays and Mutuals all that
seriously.
Connie K.
bruce thomson
rendered his work not so much a smooth succession of scenes flawlessly melded
together as a succession of more or less self-contained segments.
"Modern Times," for example, can be divided into a series of all-but-independent
short subjects — "Charlie and the Assembly Line," "Charlie in Jail," "Charlie
the Night Watchman," "Charlie the Singing Waiter" and so on. For a few Chaplin
bashers (including Pauline Kael), this was proof of his inability to transcend
the format of his early one- and two-reelers. But the format is also that of the
English music hall tradition into which Chaplin was born (and which he entered
professionally at the age of 8). Here is the succession of acts, mixed and
matched with the skill of an impresario: a slapstick comedy routine, followed by
a romantic interlude, a musical number, a comic character sketch, a dance
routine and a bit of old-fashioned melodrama.<
A wonderful insight into the "Chaplin method" of story structure. I now have another way to appreciate and view the work of Chaplin.
William Ferry
perspective that Chaplin went into this knowing it was to be his last
silent. I'm guessing there was a conscious effort on his part to have the
sequences bring to mind his old films (the skating sequence, the walk into
the sunset, etc.). It serves as a good reminder of what the movies gave up
as modern times came upon them in reality.
--
Yours for bigger and better silents,
Bill Ferry
"bruce thomson" <bhth...@worldnet.att.net> wrote in message
news:x5k0b.105028$3o3.7...@bgtnsc05-news.ops.worldnet.att.net...
David Manning
"A feature picture made out of several one- and two-reel shorts,
proposed titles being The Shop, The Jailbird, The Singing Waiter."
-- Otis Ferguson, writing about Modern Times, circa 1936
"bruce thomson" <bhth...@worldnet.att.net> wrote in message news:
<x5k0b.105028$3o3.7...@bgtnsc05-news.ops.worldnet.att.net>...
David Totheroh
> This is a good analysis, Bruce. I've always looked at MODERN TIMES from the
> perspective that Chaplin went into this knowing it was to be his last
> silent. I'm guessing there was a conscious effort on his part to have the
> sequences bring to mind his old films (the skating sequence, the walk into
> the sunset, etc.). It serves as a good reminder of what the movies gave up
> as modern times came upon them in reality.
I think you're right (except, it's a sunrise). ;-)
> --
>
> Yours for bigger and better silents,
> Bill Ferry
>
> "bruce thomson" <bhth...@worldnet.att.net> wrote in message
> news:x5k0b.105028$3o3.7...@bgtnsc05-news.ops.worldnet.att.net...
> >Chaplin continued to insist on ..... episodic structure that
> rendered his work not so much a smooth succession of scenes flawlessly
> melded
> together as a succession of more or less self-contained segments.
>
> "Modern Times," for example, can be divided into a series of
> all-but-independent
> short subjects ? "Charlie and the Assembly Line," "Charlie in Jail,"
Constance Kuriyama
> It's an old insight:
>
> "A feature picture made out of several one- and two-reel shorts,
> proposed titles being The Shop, The Jailbird, The Singing Waiter."
>
> -- Otis Ferguson, writing about Modern Times, circa 1936
Yes, it was a running theme in many reviews of the film, but of course
this is much more true of _Modern Times_ than of, say, _City Lights_,
which has highly integrated interwoven plot lines. What's new
here is the connection of this structure to music hall or variety
programs, which may be partly true, though there were plenty of
theatrical models for mixing tones and moods in the same work.
But the looser episodic structure is appropriate to _Modern Times_:
the characters are drifting, improvising, getting along as best they
can, and the plot drifts with them--magnificently.
Connie K.
--
"Our century is inconceivable without its . . . inconclusive mob of isms."
Constance Kuriyama
> "William Ferry" <vze3...@verizon.net> wrote in message news:<47p0b.1163$Ck2...@nwrdny03.gnilink.net>...
>> This is a good analysis, Bruce. I've always looked at MODERN TIMES from the
>> perspective that Chaplin went into this knowing it was to be his last
>> silent. I'm guessing there was a conscious effort on his part to have the
>> sequences bring to mind his old films (the skating sequence, the walk into
>> the sunset, etc.). It serves as a good reminder of what the movies gave up
>> as modern times came upon them in reality.
>
>
> I think you're right (except, it's a sunrise). ;-)
Yep. It may be the depression, but it's still morning in America. Little
wonder Reagan paid homage to that ending.
Connie K.
--
Shush
> "Modern Times," for example, can be divided into a series of
> all-but-independent
> short subjects "Charlie and the Assembly Line," "Charlie in Jail,"
> "Charlie
> the Night Watchman," "Charlie the Singing Waiter" and so on. For a few
> Chaplin
> bashers (including Pauline Kael), this was proof of his inability to
> transcend
> the format of his early one- and two-reelers. But the format is also
> that of the English music hall tradition into which Chaplin was born
> (and which he entered
> professionally at the age of 8). Here is the succession of acts, mixed
> and matched with the skill of an impresario: a slapstick comedy routine,
> followed by
> a romantic interlude, a musical number, a comic character sketch, a
> dance routine and a bit of old-fashioned melodrama.<
>
>
> A wonderful insight into the "Chaplin method" of story structure. I now
> have another way to appreciate and view the work of Chaplin.
Even if the episodic structure of the film was conscious and
deliberate, that doesn't mean Chaplin was wise to make the film that
way.
"Modern Times" has always been my least-favorite Tramp feature,
partly for this reason. Unlike, say, "The Circus," this one just kind
of wanders along from one set-piece to the next, without giving me the
sense that it's all leading up to something. There's funny stuff in
it, and the feeding machine scene might be the single greatest
audience-pleaser of his whole career, but overall "Modern Times"
doesn't do a lot for me (and I know I'm in the minority about this).
--Shush--
Feuillade
> "Modern Times" has always been
> my least-favorite Tramp feature,
> partly for this reason.
Interesting.
> Unlike, say, "The Circus," this one
> just kind of wanders along from
> one set-piece to the next, without
> giving me the sense that it's all
> leading up to something. There's
> funny stuff in it, and the feeding
> machine scene might be the
> single greatest audience-pleaser
> of his whole career, but overall
> "Modern Times" doesn't do a lot
> for me (and I know I'm in the
> minority about this).
You're right. You *are* in a minority on this one.
I don't really know that I have a least favorite Tramp feature, but if forced
to choose I would say "The Circus," just because I find its premise so
ludicrously false. The idea that Chaplin, who took more pains over his
material than any other silent filmmaker, would posit that comedy is something
that just has to "happen" is just plain silly.
But the episodic nature of "Modern Times" has never bothered me. It's a
summing-up, a coda of Chaplin's silent work, and represents to him what "It's a
Wonderful Life" does for Capra.
It's a virtual "greatest hits" collection in one film.
Tom Moran
"The people can always be brought to the bidding
of the leaders...All you have to do is to tell them
they are being attacked, and denounce the
pacifists for lack of patriotism and exposing the
country to danger."
Hermann Goering
James Neibaur
feui...@aol.com wrote on 8/20/03 12:05 AM:
> I don't really know that I have a least favorite Tramp feature, but if forced
> to choose I would say "The Circus," just because I find its premise so
> ludicrously false.
And it is the one I enjoy most. As for his "best" feature, I would
certainly say City Lights.
Sort of the same way that I enjoy Steamboat Bill Jr best of Keaton's
features, but would easily admit The General is the better film.
JN
Doug
<jnei...@wi.rr.com> wrote:
I agree, except I would substitute "The Cameraman" for "Steamboat Bill
Jr." :-)
D.
.
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Constance Kuriyama
> Shus...@yahoo.com (Shush) writes:
>
> > "Modern Times" has always been
> > my least-favorite Tramp feature,
> > partly for this reason.
>
> Interesting.
>
> > Unlike, say, "The Circus," this one
> > just kind of wanders along from
> > one set-piece to the next, without
> > giving me the sense that it's all
> > leading up to something. There's
> > funny stuff in it, and the feeding
> > machine scene might be the
> > single greatest audience-pleaser
> > of his whole career, but overall
> > "Modern Times" doesn't do a lot
> > for me (and I know I'm in the
> > minority about this).
>
> You're right. You *are* in a minority on this one.
>
> I don't really know that I have a least favorite Tramp feature, but if forced
> to choose I would say "The Circus," just because I find its premise so
> ludicrously false. The idea that Chaplin, who took more pains over his
> material than any other silent filmmaker, would posit that comedy is something
> that just has to "happen" is just plain silly.
The other weakness is the "romance," which never convinces me. Charlie
has
no good reason to assume that the girl belongs to him, so there's no
actual
sacrifice in his giving her up, and Rex agrees to marry her on what
seems an
equally slight basis. Phooey. But there are some excellent bits in
_Circus_.
The tightrope sequence is amazing.
On the other hand, there's quite a bit of ssubstance tying those
episodes in _Modern Times_together, including the developing
partnership between Charlie and the Gamin(e). That's a credible, if
somewhat unusual, relationship.
Connie K.
Constance Kuriyama
> In article <BB687236.11EDF%jnei...@wi.rr.com>, James Neibaur
> <jnei...@wi.rr.com> wrote:
>
> > in article 20030820010511...@mb-m01.aol.com, Feuillade at
> > feui...@aol.com wrote on 8/20/03 12:05 AM:
> >
> > > I don't really know that I have a least favorite Tramp feature, but if
> > > forced
> > > to choose I would say "The Circus," just because I find its premise so
> > > ludicrously false.
> >
> > And it is the one I enjoy most. As for his "best" feature, I would
> > certainly say City Lights.
> >
> > Sort of the same way that I enjoy Steamboat Bill Jr best of Keaton's
> > features, but would easily admit The General is the better film.
> >
> > JN
>
> I agree, except I would substitute "The Cameraman" for "Steamboat Bill
> Jr." :-)
>
> D.
I like _Cameraman_ a lot; also _Sherlock Jr._and _Our Hospitality_.
I'd rather watch any of them than _The General_, and I think
_Sherlock_ is a better
film.
Connie K.
WaverBoy
"Constance Kuriyama" <ckur...@ttacs.ttu.edu> wrote in message
news:2bac2741.03082...@posting.google.com...
> Doug <dsu...@optonline.net> wrote in message
news:<200820030912506698%dsu...@optonline.net>...
> > In article <BB687236.11EDF%jnei...@wi.rr.com>, James Neibaur
> > <jnei...@wi.rr.com> wrote:
> >
> > > in article 20030820010511...@mb-m01.aol.com, Feuillade at
> > > feui...@aol.com wrote on 8/20/03 12:05 AM:
> > >
> > > > I don't really know that I have a least favorite Tramp feature, but
if
> > > > forced
> > > > to choose I would say "The Circus," just because I find its premise
so
> > > > ludicrously false.
> > >
> > > And it is the one I enjoy most. As for his "best" feature, I would
> > > certainly say City Lights.
> > >
> > > Sort of the same way that I enjoy Steamboat Bill Jr best of Keaton's
> > > features, but would easily admit The General is the better film.
> > >
> > > JN
> >
> > I agree, except I would substitute "The Cameraman" for "Steamboat Bill
> > Jr." :-)
> >
> > D.
>
> I like _Cameraman_ a lot; also _Sherlock Jr._and _Our Hospitality_.
> I'd rather watch any of them than _The General_, and I think
> _Sherlock_ is a better
> film.
I think SEVEN CHANCES is his funniest film. My two favorite Keatons are
that one and STEAMBOAT BILL, JR., which features some of the most incredible
stunts in film history; for some reason STEAMBOAT seems to be a bit
underrated in some circles. My favorite Keaton short is ONE WEEK.
Constance Kuriyama
It's not pure Keaton, but that doesn't matter, because Keaton was more of a
collaborator than Chaplin. I like the epic chase sequence very much.
My two favorite Keatons are
> that one and STEAMBOAT BILL, JR., which features some of the most incredible
> stunts in film history; for some reason STEAMBOAT seems to be a bit
> underrated in some circles.
It's more than good enough. It just doesn't engage me as much as the others I
mentioned. The goofy train in _Hospitality_ appeals to me more than an
old steamboat. Purely personal whim.
> My favorite Keaton short is ONE WEEK.
I like quite a few of the shorts, but don't have a favorite. _The Playhouse_
interests me enormously.
Connie K.