Chaplin really likes his buzzer gag. And I admit, the nth repetition of it provoked a snort from me that was not wholly derisive. This time it’s the captain’s turn to react in panic, and I think what made it funny was not just the actor’s extravagant “take” — though that is quite fine — but the fact that the captain has no reason at all to be nervous or startled by the buzzer. Apparently everyone is — they should uninstall that thing before the ship ends up another Marie Celeste.
The captain is played by an actor with the very papal name of John Paul, who I see played Dr. Spencer Quist in the original Doomwatch TV show and spin-off movie. Never saw the show, quite like the film. Acromegaliacs in argyll sweaters — unmissable stuff.
Since Ogden/Marlon’s wife (a very special guest star) is joining the ship at Honolulu, it’s decided that Natascha/Sophia should get married, an alibi which should also help her enter the States (though her lack of paper may be an issue, I’d have thought). Patrick Cargill, as Ogden’s valet, is chosen as the beard, and if you want an actor who can look quietly mortified at the idea of marrying Sophia Loren, you could do worse.
A surprisingly shoddy bit of blocking, where Sophia literally blocks Marlon. A retake was, it seems, too much to ask.
Cargill faints, which is pretty funny. Good comedian.
And then, a little later, the buzzer goes (again) causing Natascha to burst in on Cargill as he’s… what, exactly? Trying to understand pyjamas?
Some NICE blocking when Natascha advances to camera and sits, though the very frontal staging does feel somewhat, well, stagey. But that’s Chaplin’s whole thing.
Sophia is startled by Cargill’s gargling from the bathroom. Chaplin seems very delighted by gargling in this movie, since Ogden has previously done it.
There then follows an actual extended bit of physical comedy, which is welcome, but it’s quite odd. An unexpectedly sitting (drunk?) Cargill makes a huge show of going to bed. It is apparent that he’s gotten over his shock at the sudden marriage and is feeling… connubial.
And Cargill is an effective, clear channel for Chaplin’s direction — at times you can really believe you’re seeing Chaplin do all this, while wearing Cargill’s fleshly form. But it’s not, to me, quite clear what has brought all this on. I don’t entirely like this carrying-on here, but if the film had delivered something like it every ten minutes, it would be a better film, I’ll say that much.
Fifteen minutes of this to go. Will I make it through the rest in one go? not a chance.
shadowplay 