Archive for Charles Chaplin A Political Biography

The Sunday Intertitle: Will the real Charlie Chaplin…?

Posted in FILM, literature with tags , , , , , , , , , , , , , , , , , , , , on March 13, 2022 by dcairns

Not taken with Charlie Chaplin: A Political Biography from Victorian Britain to Modern America by Richard Carr. Maybe the word “political” somehow makes it seem like it’s trying too hard. I picked up a copy from the library and looked up THE CIRCUS. “To modern tastes, it remains Chaplin’s most amusing film, however — the comedy that truly stands up to a twenty-first century-audience in both its inventiveness and execution.” Which tells me that Carr doesn’t much like Chaplin as a comedian or filmmaker and hasn’t bothered to watch the films with an audience, because if he had he’d see and hear them “standing up” rather admirably. It could just be he’s writing sloppily and doesn’t mean to imply that the other films don’t work anymore — certainly the word “remains” is a weak choice where I think the word “is” would better represent his intended meaning.

Not finding anything useful to my little pieces on THE CIRCUS (which is excellent, and maybe has Chaplin’s funniest scene, but isn’t his best or best-made feature in my view, not that that matters), I moved on to CITY LIGHTS, which has more “politics” maybe since it deals with the struggle to survive in the capitalist west, among other things.

Carr’s description of the film and its making are very decent summaries, though “it took time” is a rather unimpressive summary of the months of camera-writer’s-block that afflicted Chaplin when he tried to set up Virginia Cherrill’s mistaken belief in Charlie’s wealth. Brownlow & Gill’s Unknown Chaplin series does a magnificent job of this, but even if you couldn’t spare the time they lavish on the question, just saying that it took over a year to solve the problem would be more impressive.

“Whatever the politics, the film remains a classic from beginning to end.” There you go with “remains” again, though it’s slightly better here. Still, Carr’s book assembles maybe the most detailed record of Chaplin’s political thoughts and contacts, including his meetings with persons as diverse as Churchill and Gandhi, John Maynard Keynes and George Bernard Shaw. The problem is that I don’t think Chaplin’s politics are even the tenth most interesting thing about him.

Peter Ayckroyd’s straight biography Charlie Chaplin is actually quite fine, I think. Though we didn’t necessarily need another Chaplin bio after Robinson, Louvish, Baxter, and of course Chaplin himself. It’s still pretty enjoyable — Ayckroyd really knows his London, and the areas where he’s not so obviously an expert, the film history and the film analysis and appreciation, he actually does very well with. He seems to genuinely admire the films, in a way Carr can’t manage to suggest. “The details of their opening scene together, when Charlie purchases a flower before realising she is blind, too two years and 342 takes to assemble.” There you go, that wasn’t hard. Ayckroyd nails it, except for the inaccurate use of “opening” — it’s their first scene together, but it doesn’t open the film or anything else. I may not be a great critic but I’m a great pedant.

Also: “City Lights remained Chaplin’s own favourite among his films.” Bravo! A correct use of the r word.

Peter Middleton & James Spinney’s new film THE REAL CHARLIE CHAPLIN is a pretty terrific documentary. It had big boots to fill. It is inferior to Kevin Brownlow’s documentaries with and without David Gill — Hollywood, Unseen Chaplin and The Tramp and the Dictator — because it doesn’t let the viewer see enough of Chaplin’s comedy to judge his genius. LET CHAPLIN HELP YOU! But, apart from some ill-judged reconstructions and some slightly doubtful chronology — saying Chaplin scored his films when describing his accomplishments in the twenties is an inaccuracy — it’s really very good indeed. Beautifully cut by Julian Quantrill, using a plethora of source materials in very creative ways. Beautifully narrated by Pearl Mackie. Beautifully scored by Robert Honstein.

It goes out of its way to be fair to Lita Grey, and it’s time someone did, though it may be going too far in the other direction. But she had a story and it’s worth at the very least asking, What if it’s true? If it’s true, Chaplin could be a sonnovabitch, and there’s no shortage of material to support that claim.

I was grateful to see some footage of Chaplin impersonator Charles Aplin for the first time (that I know of). And amused to learn Aplin’s defence when Chaplin sued him: “I’m not impersonating Chaplin, I’m impersonating (Chaplin impersonator) Bill Ritchie.” Unbelievable. I think if he’d claimed Billy West he might have come closer to convincing someone — West at least was a close facsimile of Chaplin. If you’re impersonating Ritchie, why do you look so much more like Chaplin than he does, and why did you tale the name Aplin? An interesting case — maybe the first time an actor sued to protect his rights, not to a film or story, but to a visual characterisation. Though Ford Sterling could presumably have sued Chaplin over MAKING A LIVING, in which the frock-coated interloper has clearly been tasked with playing a Sterling substitute.

And I suppose Kevin Brownlow could sue over being played by a lookalike in THE REAL CHARLIE CHAPLIN, except I’m sure he wouldn’t, he’s such a nice man and obviously they would have asked him.

When running through the previous Chaplin docs, I should mention the Biography Channel one which is better than the Richard Schickel one, which is also good. I have the Biography Channel one on VHS somewhere but don’t recall who made it. Kenneth Branagh narrated it, a service he also provides for Brownlow, but it didn’t have Brownlow’s name on it and it doesn’t appear on the Branagh IMDb page. A small mystery. (It’s not the one on YouTube, presented by Peter Graves of all people.)