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Charlie Chaplin

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In 1914, Making a Living was released, and with it, the world was introduced to Sir Spencer “Charlie” Chaplin. Born in 1889, Chaplin spent his early years preparing himself for the camera in dance troupes and stage comedy routines (Charlie Chaplin, 2005). Having been born into poverty, Chaplin’s rise to fame and riches was tremendously difficult, and in no small part due to Chaplin’s revolutionary approach to cinema and comedy specifically. Chaplin redefined the comedy genre by bringing intelligence and sophistication to what was otherwise a slap-stick dominated field (Charlie Chaplin, 2005). Chaplin achieved this through refining the conventions of filming, extensive character development, portraying gender roles realistically, bringing attention to real world modern issues, and extensive levels of trickery, both in sound and filming. Chaplin’s success is also due, in no small part, to his iconic character: The Tramp.

Chaplin was an early adopter and he made his movies in a time when the idea of movies was still relatively new. Though there were other directors, the conventions of movies had yet to be defined and each director would bring what they thought was proper movie techniques to the screen. Chaplin understood the effects of certain camera techniques, and he used this knowledge to his advantage (Mast, G., & Kawin, B., 2011, 107-110). He would use the camera to trick the audience; they would be expecting one thing to happen, but another, more hilarious event would occur. For instance, in The Immigrant Chaplin establishes a shot where there are many people leaning over the edge of a boat seasick. Chaplin is one of these characters, however, though we are supposed to believe he is also seasick, it is revealed that Chaplin is simply leaning over the edge of the boat to catch a fish. He also understood the emotional effect of a close-up. Comedy lived in the wide shot but when close-up, you could show intimacy and love (Mast, G., & Kawin, B., 2011, pp. 108). This is clearly shown in many of his films but especially in the final close-up shot in City Lights. Other camera techniques used to create more complex comedic situations was the transformation of objects, an illustration of this would be in his film One A.M. when a spinning table turns into a treadmill. “Chaplin’s insistence on unobtrusive composition, minimal camera movement and seamless editing sustained the spell of his performance,” it helped us concentrate on the photographic subject rather that the process and made us forget we were watching a medium at all (Mast, G., & Kawin, B., 2011, 110-112). Many of Chaplin’s innovative techniques are still used today and have become the template for how a director needs to film in order to achieve comedic success.

With the advent of cinema, comedy was usually short and punchy movies with a string of slapstick or riffing jokes. Chaplin, however, did not take this approach and instead tried to film comedies where there was character and development over time with the jokes being organically connected to the plot rather than treat the jokes as an output that needed to be maximized (Mast, G., & Kawin, B., 2011, pp. 102).

Chaplin didn’t treat women the same as other comedian directors, actors, or editors of the time; he believed the woman character wasn’t just sentimental. “Women were a metaphor for natural human beauty uncorrupted by social definitions and unburdened by material possessions” – they were the purest form of beauty and nature (Mast, G., & Kawin, B., 2011, pp 109). Even the way he filmed actresses conveyed respect, giving them deep characterization. In City Lights, for example, the way that Chaplin had the camera film the blind woman when there is a dissolve from a bouquet of flowers on to her face implies purity and beauty. Traditionally women were not offered prominent roles in cinema and initially, young males had portrayed females because it was deemed inappropriate for women to put themselves on public display. However, by the turn of the century, women had been allowed to join in, and “chorus lines of beautiful and talented young women became staples of most shows” (Castle, I. (n.d.). Some women also became featured attractions, but despite new opportunities and individual success stories, most women in vaudevillian acts continued to play stereotypical roles in which they looked to males for protection (Castle, I. (n.d.). Chaplin treated women differently, by giving women roles with deep characterization rather than making them props.

Chaplin was never afraid to take satire further than his contemporaries. In a time when most directors were focusing on cramming more comedy into a film, Chaplin chose to identify modern issues and problems and bring them to the world’s attention. The film Modern Times, for example, Chaplin depicts the Tramp, working on an assembly line in a movie that shows a union of work and social life that is truer today than in Chaplin’s time (Marshall & The Movies, 2011). The tramp is required to perform repetitive tasks and becomes so engrossed in it that he is unable to stop making the turning gestures he performs on the lines after he returns home showing how more and more people were becoming so inundated with work and were unable to separate their personal lives - if they had one - from their work life. This is mirrored in today’s society, some 80 years later, with adults and children alike unable to put down their mobile devices (Marshall & The Movies, 2011). In his film Gold Rush, Chaplin turns his attention to the Yukon gold rush and the hardships it caused. In a series of events similar to that of the Donner party, Chaplin shows his audience the darker side of the gold rush and the hardships of starvation, the perils of the unconquered wilderness and the dark nature of humanity (Erickson, G., 2005). For a comedy to have themes such as these was unheard of at the time, but Chaplin did not shy away from these heavier issues and presented them through his Tramp’s impishly humorous behaviors. Perhaps because Chaplin’s comedy style had been so well developed and was so well received by the public, he was able to present such heavy subject matter and yet make it seem light and breezy (Erickson, G., 2005). Nowadays, social commentary in comedy movies is almost expected and this is in no small part due to the decisions made by Chaplin which still affects modern cinema today.

Chaplin was a master of camera and sound tricks and was able to perform scenes that were well ahead of his time. In Gold Rush, there is a scene where the character Black Larsen is walking on the edge of a cliff when suddenly, the snow cracks and a large portion of the cliff, as well as Black Larsen, fall leading to the death of the villain. Chaplin achieved this shot by filming a miniature model and superimposing reaction shots by actor Tom Murray who Chaplin directed (Barron, n.d.). Murray was told how to react – stopping in shock when the snow begins to crack, shifting around unsteadily as the snow began to fall and finally flailing as he was thrown over the cliff – creating the illusion that a man did in fact fall off the cliff (Barron, n.d.). Comedies of this time did not usually go so deep into costly special effects to tell their story and so Chaplin’s approach made the story even more real. With the addition of his tramp character, Chaplin could create scenes so realistic and close to home that future filmmakers couldn’t help but follow his lead and make more and more realistic effects that drove the story (Barron, n.d.). Though in modern times some directors overuse effects in place of plot and story, the fundamental lesson that effects need to be used in tandem with the story has not been lost to all.
Though Chaplin is synonymous with silent movies, he was extremely anal about the use of sound effects and music in his movies. Movies such as City Lights and Modern Times had very meticulous sound tracks where the music would rise and fall alongside the actions on screen (Robinson, 2004). A scene where Tramp would tumble might be accompanied by a rapid drop in tone for the music to give a stronger impression of falling than a visual representation alone could achieve. A scene where the Tramp became despondent would be accompanied by a musical score that mirrors his defeat and depression (Robinson, 2004). Though Chaplin was resistant to speech, he fully understood the importance of sound in achieving a unified and coherent cinematic delivery. Though others would use music and sound in a similar way, Chaplin took it to the extreme and would spend days locked away with his sound editor trying different cues in different places to achieve the best possible effect (Robinson, 2004). Chaplin can be said to have written the book on these music cues as he took them to the extreme to find the best possible combination of music, sound effects and visuals to drive the emotions and themes into the audience (Robinson, 2004).

Chaplin had redefined the nature of comedy with the Tramp. No longer was a character expected to perform a string of slap stick but rather they were to perform and act. Chaplin’s influence was limited however after the advent of movies with sound, because Chaplin recognized that if the Tramp ever spoke, it would in effect ruin the character forever (Charlie Chaplin, 2005). So, while Chaplin’s contemporaries were switching to talking pictures, Chaplin continued to make silent movies until as late as possible. This meant that Chaplin, who had a huge following, had the final say in what constituted silent comedy and thus what constituted the proper way to act in a comedy. After switching to talking pictures, Chaplin was merely one out of many and would never have the same level of influence again (Charlie Chaplin, 2005). At the time, the Tramp would have resonated well with the American people as there were literally thousands of vagrants and hobos wandering the country (Fairbanks, n.d.). This meant that the Tramp transcended his fictional world and he was looked upon as a real person and not just a character. A real person can affect the audience in ways that a character cannot and so audiences can react to the tramp on a more personal level then they could with Valdemar Psilander in A Portrait of Dorian Grey or Alfred Abel in Metropolis. The tramp was no different from the audience rather than a fantasy.

In 1932, Chaplin had hoped to release a “talkie” called Bali, however he was unable to get the script right and after penning some fifty pages of dialogue, Chaplin recognized his weakness in writing comedy instead of just acting it. In addition, Chaplin originally wrote dialogue for City Lights, but he chose not to use it despite a crippling fear of appearing old fashioned (Alberge, 2011). Now that talking pictures had taken prominence as the main form of entertainment on screen, Chaplin’s influence had waned and he was forced to retire the Tramp, the character he had built his career around. Chaplin was one of the most influential auteurs in the history of cinema, as mentioned above, he achieved this through refining the conventions of filming, extensive character development, portraying gender roles realistically, bringing attention to real world modern issues, and extensive levels of trickery, both in sound and filming. In 2008, Martin Sieff, in a review of the book Chaplin: A Life, wrote: "Chaplin was not just 'big', he was gigantic. In 1915, he burst onto a war-torn world bringing it the gift of comedy, laughter and relief while it was tearing itself apart through World War I. Over the next 25 years, through the Great Depression and the rise of Adolf Hitler, he stayed on the job. ... It is doubtful any individual has ever given more entertainment, pleasure and relief to so many human beings when they needed it the most” (Sieff, M. 2008).

Works Cited
Alberge, D. (2011, June 22). Charlie Chaplin's first attempt at 'talkie' is discovered. Retrieved from http://www.citationmachine.net/apa/cite-a-website#

Barron, C. (n.d.). Special Effects in the Gold Rush. Retrieved from http://www.criterion.com/current/posts/2336-special-effects-in-the-gold-rush

Castle, I. (n.d.). Women in Entertainment and Sports, 1900–1937. Retrieved from http://www.fofweb.com/History/HistRefMain.asp?iPin=CWAHIII009&SID=2&Database Name=American+Womens+History+Online

Charlie Chaplin. (2005, January 1). Retrieved from http://www.tcm.com/tcmdb/person/32227%7 C29141/Charles-Chaplin/biography.html

Erickson, G. (2005, January 1). The Gold Rush: Charlie Chaplin’s Comedic Masterwork. Retrieved from http://www.tcm.com/this-month/movie-news.html?id=493503

Fairbanks, B. (n.d.). Charlie Chaplin. Retrieved from http://www.hyenaproductions.com/charlie- chaplin.aspx

Marshall and the Movies. (2011, May 31). Marshall, a look at a classic: Charlie Chaplin in "Modern Times”. Retrieved from http://www.csmonitor.com/The-Culture/Culture- Cafe/2011/0531/A-look-at-a-classic-Charlie-Chaplin-in-Modern-Times

Mast, G., & Kawin, B. (2011). A Short History of the Movies (11th Ed.). Boston, MA; Pearson.

Robinson, D. (2004, January 1). Filming Modern Times. Retrieved from http://www.charliechaplin.com/en/biography/articles/6-Modern-Times

Sieff, M. (2008). Chaplin: A Life; Review. Retrieved from http://www.washingtontimes.com/news/2008/dec/21/his-gift-of-comedy-for-a-weary- world/?page=all

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