film chaplin modern times, a review

8/19/2019 Film Chaplin Modern Times, A Review

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INTRODUCTION TO FILM

CHAPLIN MODERN TIMES

NAME CLASS PERIOD _____________

BASED ON INFORMATION FROM THE TEXT:

1. WHAT STRUGGLE DOES THE FILM, MODERN TIMES PROCLAIM?

2. WHAT THOUGHTS DID THE FILM, MODERN TIMES SHOW?

A.

B.

C.

3. IN WHAT SCENES IS THE TRAMP CHARACTER PRESENTED?A.

B.

4. WHAT OTHER ROLES DOES CHAPLIN PLAY IN THE FILM, MODERN

TIMES ?

A.

B.

C.

D.

5. WHAT HAPPENS WHEN CHAPLIN SLACKS OFF OR MAKES ANY

GESTURE?

6. WHAT DOES CHAPLIN FIND WHEN HE IS RELEASED FROM

PRISON?

. HOW DOES CHAPLIN GET ARRESTED?

!. WHAT THOUGHTS DID PEOPLE HA"E THAT WERE SHOWN IN THE

FILM?


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#. WHAT DOES THE CITY SCENE IN THE FILM, MODERN TIMES

SHOW?

1$. WHAT DOES THE DEPARTMENT STORE SCENE IN THE FILM,

MODERN TIMES SHOW?

11. WHAT IMPORTANT IDEOLOGICAL STANCE ABO"E OTHERS DID

CHAPLIN REPRESENT IN HIS FILM, MODERN TIMES ?

12. WHAT DOES CHAPLIN SAY ABOUT SILENT COMEDY?

13. WHAT DID CHAPLIN CALL THE MAR% BROTHERS?

14. HOW DOES THE FEEDING MACHINE OPERATE?

15. HOW DOES BARTHES REFER TO WINE AND THE FRENCH

WORKER?

16. ALTHOUGH MACHINES MAY NOT ENNOBLE CHARLIE, WHAT DO

THEY DO TO THE BOSS?

1. WHAT FILM IS CHAPLIN&S LAST TIME ON THE SCREEN?

1!. WHAT DID LIBERAL COMMENTATOR CHARMION "ON WIEGAND

SAY ABOUT MODERN TIMES?

1#. ACCORDING TO THE AUTHOR, WHAT WAS THE REALITY OF THE

EARLY 2$TH CENTURY?

2$. WHAT IN"ENTION MADE ITS COMMERCIAL DEBUT IN 1#2$?

21. WHEN SOUND CAME TO FILMS, FROM WHAT SONG DID CHAPLIN

GAIN WIDESPREAD RECOGNITION FROM MODERN TIMES ?


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4/26

Modern Times 0 + '0 7 T8+0(9:

Perhp! i" 0! hi! !""#! ! "rmp1 )#" for 0h"e8er

re!o%1 "he ico% Chrlie repre!e%"e' o%e impor"%"i'eolo$icl !"%ce )o8e o"her!: !ile%" pro"e!" $i%!"

'8%ci%$ "ech%olo$*. Chpli% !""e' 0he% i% "he erl*

pl%%i%$ !"$e! of Modern Times "h" @I m l0*!!#!picio#! of pic"#re 0i"h me!!$e1@ !o Chpli% %e8er

m'e film i% 0hich he 8er)ll* i%'ic"e' mchi%e! or

#"om"io% ! i%"ri%!icll* )' Ro)i%!o% pe$! Times !@% emo"io%l re!po%!e1 l0*! )!e' o% come'*1 "o "he

circ#m!"%ce! of "he "ime!@ +Ro)i%!o% 23: -.

Specificll*1 mo!" re8ie0er! !eem "o $ree "h" i" 0!%$!" o8er "he "r%!i"io% "o !o#%' 99 "ech%olo$icl

'8%ceme%" "h" )ro#$h" cl!! "o e8e% "he chepe!"!"#'io! "h" 'op"e' i" 99 "h" )ro#$h" o#" "he more $e%erl

#r$e "o com)" "he )o$e* of $i(mo! i% po!i"io%! of #"hori"*.

Chpli% fel" 'eepl* "h" !o#%' 0o#l' compromi!e "he e%"er"i%me%" i'el! "o0r' 0hichhe 0! 0ori%$ 0i"h "he Trmp 99 i% fc"1 0i"h film i% $e%erl. @If Chrlie! #%i8er!li"*

0! %o" "o )e compromi!e' 0i"h 8oice1@ e! 6ehri%$ p#" i"1 @"he chrc"er i"!elf 0o#l'

%ee' "o )e re"ire'@ +6ehri%$ 234: 2-. Of co#r!e1 "hi! %ee' %o" hppe%1 Chpli% fi$#re'

i% "he erl* '*! of !o#%'1 0ere "he %e0 me'i#m o%l* "o )ecome one 0* of mi%$film!. @I re$r' i" o%l* ! % ''i"io%1 %o" ! !#)!"i"#"e1@ he !i'. @Sile%" come'* i! more

!"i!fc"or* e%"er"i%me%" for "he m!!e! "h% !o#%' come'* . . . 0hichG I "hi% i!

"r%!i"io%l@ +mi% 23: 2-. Chpli% 8ie0e' !ile%" film ! "he r" form %o0mo'er%i"* 0! rechi%$ for0r' "o o#!" hi! preemi%e%ce ! o"her come'i%! lie "he

MrJ Bro"her! +0hom Chpli% clle' @fri$h"e%i%$@- )ecme "he %e0 i%$! of "he %e0 r"

form. I" 0! Chpli% $i%!" 0orl' 0hich he 8ie0e' i%cre!i%$l* ! )ei%$ m'e #p of%o8el"*9orie%"e' ro)o"!.

Th#! i% Modern Times1 lr$el* !ile%" film

Chpli% rele!e' ! l"e ! 23451 Chrlie %' hi!femle co#%"erpr"1 "he 6mi%e1 re @"he o%l* "0o

li8e !piri"! i% 0orl' of #"om"o%!1@ ! @!piri"#l

e!cpee! from 0orl' i% 0hich Chpli%G !0 %o

o"her hope@ +Ro)i%!o% 23: 3-. The film!0orer! re lie%e' "o !heep i% "he ope%i%$ !ho"1

%' i% o%e of "he mo!" fmo#! !eK#e%ce!1 Chrliehim!elf i! c#$h" i% "he co$! of 8icio#! mchi%e %'1 l"er1 fee'! mel "o poor 'e8il

c#$h"1 perhp! fore8er1 'eep i% "he )o0el! of %o"her me"l mo%!"er. Hi!"ori% D%

mi% emph!i(e! ho0 h#m% c"or! 8oice! re o%l* her' o8er lo#'!peer! i%

Modern Times 0he% chrc"er! !pe "o o%e %o"her1 "heir 0or'! occ#r o% pri%"e'

!#)"i"le! i% lmo!" e8er* c!e + chor#! of !i%$i%$ 0i"er!1 hr'l* i%"e$rl "o "he plo"1

http://ballet.cit.gu.edu.au/M/title-exact?+Modern+Times+(1936)http://ballet.cit.gu.edu.au/M/title-exact?+Modern+Times+(1936)http://ballet.cit.gu.edu.au/M/title-exact?+Modern+Times+(1936)


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ccep"e'-. The 0orl' of "hi! film "h#! pre!e%"! mchi%e! ! mo!" '8%ce' *e" )ei%$

'8%ce' i% o%e 0* +h8i%$ "he po0er of !peech- hr'l* c%cel! o#" "he 'e!"r#c"i8e

po0er mchi%er* i! $i8e%. he% )ro#$h" i% for Chrlie! !l8e9'ri8i%$ )o!! "o i%!pec" i%"he film! ope%i%$ mi%#"e!1 mchi%e me%" "o fee' 0orer! 0hile le8i%$ "heir h%'!

free %%o#%ce! i"! f#%c"io%! )* % !!oci"e' LP recor'. The 'e8ice! 8icio#!l*

mech%icl1 repe"i"i8e K#li"*1 %' i"! #r$e "o pre!e%" i"!elf ! !#perior1 re emph!i(e' )*ho0 "he recor'i%$ poi%"! o#" %o le!! "h% "hree "ime! "h" "he l#%ch ho#r c% %o0 )e

elimi%"e' from "he 0or'*.

The po0er of @pro$re!!1@ i"! '8%ceme%" 0ori%$ "o "he

commo%er! 'e"rime%"1 %' i"! po"e%"il for o#"9of9co%"rol

m*hem re ll cr*!"lli(e' 8er* %icel*. Chrlie1 "he

pre"e%"io#! "rmp1 i! o#"ico%ifie' )* % im$e9)rei%$mchi%e1 more 0or!hippe' %' more e8ol8e' "h% "he

hi$he!" m% +Chrlie! %er8o#!1 !0e"i%$ )o!!- %' *e"

more )#!i8e %' 8#l$r "h% "he lo0e!" r#ffi%: "he'e8ice fee'! Chrlie )ol"! 0hich h8e cci'e%"ll* )ee%

lef" o% i"! "r*1 "h#! forci%$ him "o li"erll* i%$e!" pro$re!!

+m* i%"erpre""io% from !#mmr* i% mi% 23: 22-.Mchi%er* 'e8o#r! him )* forci%$ him "o 'e8o#r i"! o0% eJce!!e!: i" i! o%l* !hor" "ime

l"er "h" Chrlie i!1 ! h! )ee% %o"e'1 him!elf 'e8o#re' )* "he mchi%e $e i% "he $er*

m0 of h#$e co%!"r#c"io% 'e8ice +ibid -. L"er1 he i! 'ri8e% comple"el* m' )* hi!


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!*m)olicll* co%!#mi%$ "he free'om of "he m%$eril cl!!1 %' elimi%"i%$ "he l#%ch

ho#r1 elimi%"i%$ "he l#%ch ho#r1 elimi%"i%$ "he l#%ch ho#r.

Bo"h Chrlie %' "he mchi%e!1 "o prphr!e Br"he!

$i%1 @$i8e . . . fo#%'"io% for collec"i8e morli"*1

0i"hi% 0hich e8er*"hi%$ i! re'eeme'@ +23: 3-. h"choice 0o#l' % #'ie%ce "e 99 re'emp"io% ! Chrlie1

h#m%i!"ic ico% +hi! cre"or !i'e-1 or ! mchi%e1 "he

'emo%9Chrlie 0i"h hi! )ol"9"i$h"e%i%$ o)!e!!io%? I" i!%o" hr' "o $#e!!. e! 6ehri%$ cll! "he !ce%e @ 'efe"

o8er Chrlie "o 0hich %o o"her1 li8i%$ %"$o%i!m h!

come clo!e@ +6ehri%$ 234: 4-. A%' *e" Chrlie1 i% "he

e%'1 lo!e! o#" i% "he )""le )e"0ee% ico%!. he% 0e %eJ"!ee him i% The Great Dictator 1 i" i! hi! l!" "ime o% "he

!cree%: he h! refi%e' hi! 0*! !#ch "h" he i! %o lo%$er

officill* "he Trmp +mo!" "eJ"! I follo0 cll "he chrc"er "he Br)er1 l"ho#$h i'e%"if*i%$ him ! implici"l* "he

!me Chrlie-. More impor"%"l*1 he speaks 99 0hile %o" % ''i"io% "h"1 lie !ome

cri"ic!1 I 8ie0 ! 'e"rime%"l or o8erl* lie%"i%$ "o "he chrc"er1 i" i! !i$% "h" Chpli%co#l' %o" 0i"h!"%' mo'er%i("io% fore8er. The 'iffic#l"* he h' i% comi%$ "o "erm! 0i"h

"he Mchi%e A$e ! i" mo!" ffec"e' him 99 chlle%$i%$ hi! !ile%" film !"*le " "he core 99

fi%ll* fell i% "ech%olo$*! f8or + poi%" 0ell9"e% )* IBM i% i"! Chrlie '8er"i!i%$cmpi$% of rece%" *er!-.

http://ballet.cit.gu.edu.au/M/title-exact?+Great+Dictator,+Thehttp://wso.williams.edu/~dgerstei/chaplin/myscans/ibmcharliehttp://wso.williams.edu/~dgerstei/chaplin/myscans/ibmcharliehttp://ballet.cit.gu.edu.au/M/title-exact?+Great+Dictator,+Thehttp://wso.williams.edu/~dgerstei/chaplin/myscans/ibmcharliehttp://wso.williams.edu/~dgerstei/chaplin/myscans/ibmcharlie


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Modern Times, for whatever it's worth, was seen as more political alm than Chaplin's previous eorts; quite frankly, itsindictment of a segment of society made it that way The !ew "ork #aily !ews' $ate Cameron saw the lm as straightentertainment, %ut was of a minority; &more politically and

aesthetically conservative& critics, nota%ly, made up thatcamp Maland ()*)+ (- .i%eral commentators, such as the!ew Theatre's Charmion von /iegand, were quicker to see themovie as &acutely 0aware of1 the changes which are occurring inthe %ody of our society & Conservative viewers, stressing the Tramp's humorous aspect, were quite telling in their emphasison this, for when The 2reat #ictator came a%out, they woulddecide that there was more to worry over in Chaplin's ethic thanfear of machines 3ut that is another chapter in the life of theicon Filmmaking at the %eginning of the twentieth centurywas in its infancy The techniques at that time could only show

people and o%4ects as they were, with an occasionalphotographic trick 5s technology progressed, so did the eectswe saw on lm /e no longer nd it ama6ing that a star shipcan appear to rush through space at &warp speed& /e seewhole cities demolished, knowing they are truly intact, andaccept this as the norm 7o to envision people 8ocking to atheater to see a movie that was entirely silent is a %itincredulous to us now 3ut that was the reality of the earlytwentieth century

9ilms with sound did not appear until ():* 5fter all,

radio had 4ust made its commercial de%ut on !ovem%er :,():, when $#$5 in adio was one ofthe most popular developments of the twenties

/e've come so far, and yet one thing remains the same That is talent Talent in any age is 4ust as great ?ur perceptionof what talent is may %e in8uenced %y time and culture, %ut thegreat geniuses never diminish, e@cept in the pu%lic memory The previous century produced many greats in the arts 5nd yetfew would argue that Charles Chaplin was pro%a%ly the greatest

of all

9or those who have no interest in what is perceived asoutdated, silent lm has little attraction This is unfortunate, asit was the product of a day when true a%ility could not %e faked There were no computer graphics to stun the audiences Thephotography was not nearly as good as today and the lmswere in %lack and white 7ound had yet to %e added There was

http://photo2.si.edu/cinema/cinema.htmlhttp://photo2.si.edu/cinema/cinema.html


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4ust the playing of an organ %y an employee of the theaterMore ama6ingly, Chaplin wrote his own scripts as well asproduced and directed his own work =e often did his ownediting At was all up to him, and no sound or visualphenomenon could help

There was more Chaplin proved, when sound came tolms, to %e a prolic composer 7ome of his music has gainedwidespread recognition, such as &7mile&, from Modern Timesand &This is my 7ong& from one of his lesser known lms, 5Countess from =ong $ong 3ut the most %eautiful is &Bternally&,the opening theme of .imelight At %ecame so widely known asone of the great Chaplin compositions that it was played atmany of his professional appearances, including his 5cademy5ward acceptance of ():


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C+/('0, C+-(' +23923-


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Charlie, a native of .ondon, was %orn in poverty on 5pril (D,(**) to music hall performers =e was a small child when hegot his rst %reak %y performing in place of his mother, whowas suering from severe mental illness .ater, halfE%rother7ydney got him work with the $arno Company =is early work in

the F7 was with Mack 7ennet's $eystone 7tudio 7ennet wasfamous for his slapstick comedies which ended in chases /ithno sound the visual had to %e funny 5nd it was consideredhumorous to do a pratfall or score a %ullGs eye with a &pieEinEtheEface& Comedy required athleticism, %ut to %e one of thegreats it required so much more The greats of the era hadtrademarks 9or Chaplin it was his &.ittle Tramp& 5nd inaddition, he was one of the rst to use the camera for hishumorEEstaring into it and performing directly to the audience

=is childhood was lled with the worst kind of povertyEE

and it was this poverty from which he would develop hisidentication with the &little person& =e used the misery of thatchildhood to create his own style, a com%ination of comedy andmelodrama known as &pathos& At hadn't occurred to manycomedians to pepper their hilarious performances withscenes that would tug at the audience's heartstringsCharlie %ecame the master and such lms as The 2old>ush, The $id, and City .ights are considered to %etreasures for 4ust that reason

Charlie was a contemporary of some other greats who

continue to entertain us with the lms they left %ehind 3uster$eaton was a ma4or comedianHlmmaker of the era An Chaplin'searly years >oscoe 9atty- 5r%uckle was considered the mostpopular of all 5n artist who came to 5merica with Chaplin in the

$arno Company was 7tan .aurel =e went on toform one the greatest comedy duos of all timewith ?liver =ardy Talent a%ounded in the worldof silent comedy /ith respect to those whoprefer the others, it can %e said the competitionwas erce 3ut there was something dierenta%out this smallEstatured man =is &.ittle Tramp&

struck a chord with audiences 5nd Chaplin was, withoutquestion, the most multifaceted talent of his time

Many of his %iographies dwell on his work at Bssanay,Mutual, 9irst !ational, and his 4oint formation of Fnited 5rtistswith #ouglas 9air%anks 7r and Mary


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At is the story of a man who, after achieving fame and fortuneagainst incredi%le odds, fell from the heights of pu%lic adorationto %ecome one of the most hated individuals in =ollywood 5ndwhat makes the story more astounding is that Chaplin refusedto accept life at that level 5fter some years of relative o%scurity

he was again recogni6ed for the genius he was At was not thenature of this man to accept defeat 5nd it cannot %e dismissedthat the story of Chaplin's life parallels the .ittle Tramp in somany ways


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Too many considered his personal life and social views to %e themeasure of the artist 5 man who held li%eral %eliefs, he foundthat this was not the &politically correct& thinking of the thirtiesand forties 5nd it was especially dangerous in the early ftieswhen a man named Joseph McCarthy turned a healthy concern

for national safety into a dangerous o%session The fanaticismof this one man and those who %acked him in the Congresscaused the reputations and careers of many individuals to %eruined 7uch were the Hollywood Ten. Chaplin escaped %einglinked to that illEfated group, %ut he, too, fell victim to the witchhunting of the McCarthyites

/e know today that the media has a strong eect onpu%lic thinking 5nd Chaplin denitely used his lms to makesocial statements 3ut most of it was pro%a%ly lost on thepeople of the time /e see the messages now, and may%e it

struck close to home for some at the time 3ut these lms weremore a vision of the future than anything else Charlie could seethe depersonali6ation of industry Modern Times- and the horrorof =itler %efore the F7 even considered going to war The 2reat#ictator- =e also saw the connection %etween mass murderand the atomic %om% Monsieur Kerdou@- /ith the possi%lee@ception of Modern Times these lms take on a greatersignicance when viewed with the twentyEtwenty vision ofhindsight Chaplin, in retrospect, seems to %e less a socialactivist than a prophet =is predictions were not noticed %y thegeneral pu%lic They were too deeply aected %y the

#epression and /ar to see the messages

3ut some did see the messages, and o%4ectedvigorouslyI


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innocence 5nd indeed it didI =owever, the 4ury was not so sureit trusted this new science They found in favor of the motherand Charlie paid child support for eighteen years

At was during the early forties that Charlie met the

daughter of playwright Eugene O'Neill 5lthough he o%4ectedstrongly to her involvement with Chaplin, the marriage tookplace on June (D,()L Charlie, already the father of two sons,went on to have eight children with ?ona %etween ()LL and()D: 5 time of domesticity was %eginning, %ut there were morepro%lems ahead

/hen Chaplin made .imelight in ()(, he placed ve ofhis children in the lm Charlie, Jr was a clown in the %alletscene and Sydney, was Chaplin's male coEstar Geraldine,Michael, and Joe!hine, appeared as street urchins 7ome say

that ?ona was also in the lm possi%ly as a standEin for Claire3loom- 3efore leaving with his family for the premier of the.imelight in .ondon, Charlie's movements in regard to hismoney and property re8ected a sense of impendinghomelessnessEEal%eit an e@travagant homelessness which couldhouse his family at the 7avoy while they looked for a new home

3efore the Chaplins left for .ondon a%oard the "ueenEli#a$e%h, Chaplin made sure his papers were in order =e wasstill a 3ritish su%4ect and needed a reEentry visa to get %ack into

the F7 7oon after they left port he received a telegram statingthat his reEentry permit had %een revoked =e would only %ea%le to return after agreeing to answer e@tensive questionsa%out his personal life and political views Chaplin was D andtired of it all =e had a growing family and wished happiness forthem all Chaplin decided on e@ile 7o, in 7eptem%er of ():,the Chaplins %ecame a Buropean family An (), during ?ona'spregnancy with their fth child, Bugene, Chaplin purchased theelegant Manoir de 3an on .ake 2eneva outside &eey,Swi%#erland. There he lived in lu@ury for the rest of his years

Chaplin often inserted elements of his life into his lms

!oteworthy are .imelight and The $id 3ut 5 $ing in !ew "ork,the story of a dethroned monarch who nds himself in e@ileafter a revolution, seems the most auto%iographical

Throughout the lm Chaplin, as $ing 7hadov,encounters the culture of 5merica in the mid()*%ie, complete with television commercials,plastic surgery, rock and roll, and unE5mericanactivities committees


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use of son Michael as young >uppert, the son of accusedcommunists The young Chaplin's oratory on passports isscathingly funny to those familiar with Chaplin's runEin with theF7 At seems as though he used this lm as a personal catharsisMany have critici6ed the lm as too %itter and technically poor

The latter is somewhat true 3ut %itterness is only perceived ifone does not see his use of comedy to deal with a deep hurt

An ()D: Charlie received an honorary degree from ?@fordFniversity 5nd in ():, twenty years after he left the F7,Chaplin was invited %ack to receive a special 5cademy 5wardfor achievement This was followed %y a knighthood %y NueenBli6a%eth AA =is star was again on the riseI

3ut even the great among us, those we put on apedestal so high no one can reach them, eventually face theirown mortality ?n Christmas #ay in () Charlie Chaplin left us

!ow, in the twentyErst century, more and more people arefalling in love with the .ittle Tramp "oung and old, they areseeing the talent and genius of this incredi%le man /ho he wasand what he did is nally %eing put into perspective

#id Chaplin really convince the movieEgoers of his socialviewsO At is dou%tful An a generation plagued %y /orld /ar A,the 7tock Market Crash of ():), the 2reat #epression, and/orld /ar AA the .ittle Tramp prevailed =e showed us how thecommon man could rise a%ove it all 5nd it was in this alonethat Chaplin made his %iggest impact At was a time when many

were poor and unemployed This destitute yet proud little trampreminded so many of themselves Chaplin, this man of wealthand fame, had little in8uence on the political and social climateof his time %ut he was persecuted for those 4ust the same

7ome may choose to remem%er Chaplin as a man ofpoor morals and questiona%le social views 3ut we who love himremem%er him simply as the .ittle TrampEEa man who could %eknocked down over and over, and yet get up, dust himself o,and waddle into the sunset 5nd this is also the story of 7irCharles Chaplin =e was a genius, and yet a man of human

weakness =e started life in poverty =e rose to the heights offame and popularity and, like the Tramp, was knocked down3ut at the end, knighthood attained and 5cademy 5ward inhand, he waddled away =is lms were funny, they weretouching, and they taught us a lot a%out ourselves 3ut it wasChaplin's portrayal of downtrodden man, em%odied in a littlefellow in %aggy pants and oversi6ed shoes that %ecame his


15/26

greatest legacy The .ittle Tramp was not so unlike his creatorafter all

No o%e 0! more !hoce' "h% Chrlie Chpli% him!elf )* hi! Li""le Trmp chrc"er!

me"eoric ri!e "o fme i% "hi! co#%"r* i% 232.

H8i%$ rri8e' o% 8#'e8ille "o#r


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8l#e' mem)er! of !ocie"*. Chpli% 0! !#ch per!o%1 %' hi! fmo#! film chrc"er %'

l"er9e$o @Chrlie@ 0! ! 0ell.

Chpli%! fir!" fe"#re9le%$"h come'* %' m!"erpiece1 @The i'@ +232-1 0!

remr)le film i% 0hich "he Li""le Trmp fo#%'1 'op"e' %' ri!e' lo!" chil'. hile

@The i'@ 'eri8e' i"! imme'i"e i%!pir"io% from 49*er9ol' Chpli%! per!o%l )ere8eme%" +hi! fir!"9)or% !o% h' 'ie' fe0 '*! f"er )ir"h1 o%l* 2= 0ee! )efore

Chpli% )e$% !hoo"i%$ "he film-1 i"! "0i% "heme! of emo"io%l lo!! %' homele!!%e!!

re!o%"e' 0i"h co%"emporr* !ocil co%cer%!. O% e8er*o%e! mi%'! 0ere "he 'i!plce'ref#$ee chil're% of orl' r I1 ! 0ell ! for "ho!e per!o%! $rie8i%$ for lo8e' o%e!

ille' i% "h" 0r.

A%' mo%$ i%"ellec"#l!1 Chrlie! ci%em"ic lo!" chil' !poe "o lo!" $e%er"io%. Nomo8ie mer %' %o o"her mo8ie +0i"h "he eJcep"io% of 6riffi"h! @Bir"h of N"io%@-

h' 'o%e ! m#ch i% o%e !i%$le !"roe "o er% i%!"%" reco$%i"io% for "he ci%em !

le$i"im"e r" form.

D#ri%$ "he 0orl'0i'e eco%omic cri!i! of "he 234!1 Chpli% ""emp"e' "o plce "he $rim

pro)lem! of !ocie"* i%"o comic per!pec"i8e "hro#$h "he r#%%i%$ !"iric comme%"r* of@Mo'er% Time!.@

S""io%i%$ hi! Li""le Trmp !K#rel* i% "he mi''le of "he me!! )* c!"i%$ him ! )lc9!heep fc"or* 0orer 0ho 0! %o more co%!cie%"io#! mem)er i% $oo' !"%'i%$ of "he

or$%i(e' m!!e! "h% he 0! mo%$ "ho!e i% "he r#li%$ cl!!e!1 Chpli% poe' $oo'9

%"#re' f#% " )o"h !i'e!. i''i%$ profi"9co%!cio#! m%$eme%" for i"! i%'iffere%ce "o "he

0elfre of 0orer!1 he ri))e' !"rie9hpp*1 or$%i(e' l)or for i"! eK#ll* m*opic#%0illi%$%e!! "o le" )i$ )#!i%e!! $e" )c o% i"! fee" )* mi%$ le!! $$re!!i8e 0$e

'em%'!. S"eeri%$ cler of collec"i8e #"opi% !ol#"io%!1 hi! come'* e%'e' 0i"h hi! o0%

!i$%"#re eJi"1 0%'eri%$ 'o0% life! hi$h0*. @Chrlie@ !h#ffle' off i%"o "he '0% of %e0 '*1 rm i% rm 0i"h % eK#ll* !cr#ff* femle comp%io% +P#le""e 6o''r'-.

@B#c #p 99 %e8er !* 'ie ell $e" lo%$1@ re hi! fi%l comfor"i%$ 0or'! "o her %' hi!Depre!!io%9co%!cio#! #'ie%ce.

I" 0! hi! %eJ" pic"#re1 @The 6re" Dic""or@ +23-1 "h" $o" Chpli% i%"o "he poli"icl ho"

0"er "h" #l"im"el* le' "o hi! )ei%$ )rre' from "he %i"e' S""e!. hile he 0! o% 8i!i" "o E%$l%' i% 231 hi! ree%"r* permi" 0o#l' )e re8oe' ! re"ri)#"io% for hi! !o9

clle' comm#%i!" !*mp"hie! %' '#)io#! morl chrc"er. I" 0! % iro%ic "0i!" "h"

Chpli% him!elf h' forec!" i% fmo#! $$ !eK#e%ce i% @Mo'er% Time!.@

%'eri%$ 'o0% "he !"ree"1 mi%'i%$ hi! o0% )#!i%e!!1 %i8e )#" helpf#l Chrlie !ee!

re' '%$er fl$ fll from "he e%' of p!!i%$ "r#c %' pic! i" #p. hile r#%%i%$ lo%$%' 08i%$ "h" re' fl$ i% % i%%oce%" ""emp" "o c"ch "he 'ri8er! e*e1 "he Li""le Trmp

i! e%"irel* #%0re1 ! he ro#%'! !"ree" cor%er1 "h" he h!


17/26

)op Chrlie "he Re' o8er "he he' %' "hro0 him i%


18/26

8eheme%ce1 Pe$ler l!o m'e "he !#$$e!"io% "h" "he c"or! "hree pre8io#! 'i8orce! 0ere

cler proof of hi! #%p"rio"ic co%"emp" @for "he !"%'r' Americ% rel"io%!hip of

mrri$e1 fmil* %' home.@

The l!" chr$e pro8e' "o )e "he o%e "h" !"#c mo!" e!il*. The 8er$e Americ%

%e0!pper re'er 0! i% %o moo' for %* poli"icl polemic! 0hich co#l' 0ee% "he 0r effor". B#" ! *o#%$er m%1 Chpli% h' rep#""io% ! l'ie! m%. A%'


19/26

o)li$e' hi! ""cer! )* re!po%'i%$ "o "heir i%flmm"or* rhe"oric 0i"h p!!io%"e

i%'i$%"io%. 6o'e' i%"o 'efe%'i%$ him!elf1 he rpi'l* )ecme co%8e%ie%" !*m)ol of

'%$ero#! lef"i!" le%i%$!.

He 0! 'e"ermi%e' 99 %o m""er 0h" "he per!o%l co!" 99 %o" "o )e i%"imi'"e'. Th"

chrc"eri!"ic !i$% of "he "r#e chil'hoo' i%8#l%er)le 99 'eep %' )i'i%$ fi"h i% hi!)ili"* "o o8ercome %* %' ll o)!"cle! 99 h' l0*! )ee% "he per!o%l cre'o )* 0hich

he li8e':

E8e% 0he% I 0! i% "he orph%$e1 0he% I 0! romi%$ "he !"ree"! "r*i%$ "o fi%' e%o#$h

"o e" "o eep li8e1 e8e% "he% I "ho#$h" of m*!elf ! "he $re"e!" c"or i% "he 0orl'. I h'

"o feel "h" eJ#)er%ce "h" come! from #""er co%fi'e%ce i% *o#r!elf. i"ho#" "h" *o# $o

'o0% i% 'efe".

Th" !me !#r8i8l chrc"eri!"ic h' e%'ere' hi! Li""le Trmp "o mo8ie$oer! ro#%' "he

0orl' for o8er *er!. I" 0! %"#rl "h" "he i%8#l%er)le chil' i% Chrlie 0o#l'

!!#me "h" "he !me p!*cholo$icl 'efe%!e mech%i!m 0o#l' !er8e him eK#ll* 0ell i%hi! !"r#$$le! 0i"h HAC %' "he FBI.

@Procee' 0i"h "he )#"cher* . . . fire he' " "hi! ol' $r* he'1@ 0ere hi! ope%i%$ 0or'!

"o "he repor"er! 0ho $"here' " "he pre!! co%fere%ce f"er "he ope%i%$ of @Mo%!ie#r

>er'o#J@ i% 23. Di!"i%c"l* 'i!i%"ere!"e' i% 'i!c#!!i%$ hi! film1 "he* 0ere "here "o repor"o% hi! poli"ic!. The* )om)r'e' him 0i"h K#e!"io%! )o#" hi! p"rio"i!m. The Col' r

0! he"i%$ #p. Hi! $oo'9%"#re' ""emp" "o h#moro#!l* 'eflec" "heir ho!"ili"* )*

'e!cri)i%$ him!elf ! @pece mo%$er@ 'i' %o" $o o8er.

Af"er0r'1 0he% co%!er8"i8e poli"icl pre!!#re $ro#p! 'emo%!"r"e' "heir )ili"* "o

i%'#ce Americ%! "o )o*co"" hi! film ! % c" of p"rio"i!m1 Chpli% )e$% "o f#ll*

ppreci"e "he eJ"e%" "o 0hich he h' #%'ere!"im"e' hi! oppo%e%"!.

@Limeli$h"1@ "he l!" film he m'e )efore le8i%$ "hi! co#%"r* i% "he fll of 231 !#ffere'% e8e% more 'r!"ic f"e. Ri$h"90i%$ lo))*i!"! 0ere )le "o )ri%$ !o m#ch poli"icl

pre!!#re "o )er o% m


20/26

co%!i'ere' )c i% 231 "he film 0o#l' h8e h' "o pl* for mi%im#m of o%e 0ee i%

Lo! A%$ele!. So !#cce!!f#l h' "he @Limeli$h"@ )o*co"" )ee%1 hi! film h' %e8er l!"e'

"h" lo%$ i% o%e !i%$le "he"er "h" *er.-

Time! h' ch%$e' )* "he "ime Chrlie cme )c "o collec" hi! O!cr. Chpli% "he

former fire)r%' 0! %o0 poli"icll* hrmle!! ol' m% i% hi! !. A%' "he 4"hPre!i'e%" of "he %i"e' S""e! 99 former HAC mem)er %' "he mo!" promi%e%"

'ome!"ic %"i9Comm#%i!" of "he '* " "he "ime of Chpli%! 'epr"#re 99 0! "oo )#!*

0i"h hi! o0% poli"icl i!!#e! "o comme%" o% Chrlie! re"#r% 8i!i". i"hi% fe0 mo%"h!he 0o#l' )e ""emp"i%$ "o eJpli% )re9i% "h" h' rece%"l* "e% plce " Democr"ic

Pr"* he'K#r"er! " "he "er$"e.

6i8e% "he p!!io% 0i"h 0hich Chpli% immer!e' him!elf 99 )o"h 0i""i%$l* %'#%0i""i%$l* 99 i% "he pr"i!% !"r#$$le! %' i'eolo$icl co%"ro8er!ie! of % er !"ill

chr$e' 0i"h emo"io%1 perhp! i" i! %o" !#rpri!i%$ "h" "he 2"h %%i8er!r* i! recei8i%$

%o officil ""e%"io% i% "hi! co#%"r*.

h"1 if %*1 p#)lic reco$%i"io% "he Americ% $o8er%me%" 0ill $i8e hi! memor* i% "he

f#"#re 99 ! o%e of "hi! co#%"r*! $re"e!" r"i!"! 99 remi%! "o )e !ee%. Th" Chpli%1"hro#$h hi! film!1 h! !#rp!!e' %' o#"li8e' hi! 'e"rc"or! i! cler. The i%8#l%er)le

@Chrlie@ !eem! 0ell o% hi! 0* "o immor"li"*.

T WHAT MADE CHARLIE RUN?

F+OM EST-TT-ON TO G/O01/ 1CC/1-M2 1 /OO3 1TCH14/-N ON THE 566TH 1NN-&E+S1+7 OF H-S 0-+TH

No o%e 0! more !hoce' "h% Chrlie Chpli% him!elf )* hi! Li""le Trmp chrc"er!me"eoric ri!e "o fme i% "hi! co#%"r* i% 232.

H8i%$ rri8e' o% 8#'e8ille "o#r


21/26

Th" 'i!"i%c"i8e Chpli% "o#ch of !e%"ime%"l p"ho! co#ple' 0i"h "he rec#rre%" "heme of

$oi%$ i" lo%e !"emme' from 'eepl* pi%f#l )o*hoo'. B* "r%!formi%$ hi! rel9lifeeJperie%ce! ! Coc%e* r$m#ffi% i%"o hi! !cree% chrc"er1 Chpli% 0! )le "o

c"p#l" from po8er"* "o 0el"h %' from o)!c#ri"* i%"o fme.

Homele!!%e!! 99 ! pre!!i%$ % i!!#e i% po!"9Dice%!i% E%$l%' ! i" i! i% mo'er%

Americ 99 0! i%"e$rl "o Chpli%! chil'hoo' %' 0o#l' )ecome h#%"i%$ mo"if i% "he

poi$%%" !ocil comme%"r* of hi! l"er fe"#re film! ! 0ell. O% fe0 rre )#"%i$h"mri!hl* #%for$e"")le occ!io%! ! 8er* *o#%$ chil'1 Chpli% h' )ee% force' "o

!leep o% "he !"ree"! of Lo%'o% %' "o for$e for foo' i% $r)$e pil!. He %e0 pi%f#ll*1

! 0ell1 0h" life 0! lie i% "he orph%$e! %' poorho#!e! of E'0r'i% Lo%'o%.

Chpli%! fic"io%l film chrc"er )o"h 're0 #po% %' comicll* 'epic"e' "ho!e $o%i(i%$erl* e%co#%"er! 0i"h #r)% 'i!loc"io%.

Chpli%! f"her 0! % lcoholic 0ho 'ie' 0he% Chrlie 0! 21 %' hi! mo"her )ecme

chro%icll* p!*cho"ic 0om% 0ho 0! i% %' o#" of me%"l i%!"i"#"io%!.

Li8e! lie Chpli%! re %o0 )ei%$ !*!"em"icll* !"#'ie' )* !ocil !cie%"i!"!. The* refi%'i%$ "h" ll chil're% !#)


22/26

S""io%i%$ hi! Li""le Trmp !K#rel* i% "he mi''le of "he me!! )* c!"i%$ him ! )lc9

!heep fc"or* 0orer 0ho 0! %o more co%!cie%"io#! mem)er i% $oo' !"%'i%$ of "he

or$%i(e' m!!e! "h% he 0! mo%$ "ho!e i% "he r#li%$ cl!!e!1 Chpli% poe' $oo'9%"#re' f#% " )o"h !i'e!. i''i%$ profi"9co%!cio#! m%$eme%" for i"! i%'iffere%ce "o "he

0elfre of 0orer!1 he ri))e' !"rie9hpp*1 or$%i(e' l)or for i"! eK#ll* m*opic

#%0illi%$%e!! "o le" )i$ )#!i%e!! $e" )c o% i"! fee" )* mi%$ le!! $$re!!i8e 0$e'em%'!. S"eeri%$ cler of collec"i8e #"opi% !ol#"io%!1 hi! come'* e%'e' 0i"h hi! o0%

!i$%"#re eJi"1 0%'eri%$ 'o0% life! hi$h0*. @Chrlie@ !h#ffle' off i%"o "he '0% of

%e0 '*1 rm i% rm 0i"h % eK#ll* !cr#ff* femle comp%io% +P#le""e 6o''r'-.

@B#c #p 99 %e8er !* 'ie ell $e" lo%$1@ re hi! fi%l comfor"i%$ 0or'! "o her %' hi!

Depre!!io%9co%!cio#! #'ie%ce.

I" 0! hi! %eJ" pic"#re1 @The 6re" Dic""or@ +23-1 "h" $o" Chpli% i%"o "he poli"icl ho"

0"er "h" #l"im"el* le' "o hi! )ei%$ )rre' from "he %i"e' S""e!. hile he 0! o%

8i!i" "o E%$l%' i% 231 hi! ree%"r* permi" 0o#l' )e re8oe' ! re"ri)#"io% for hi! !o9

clle' comm#%i!" !*mp"hie! %' '#)io#! morl chrc"er. I" 0! % iro%ic "0i!" "h"Chpli% him!elf h' forec!" i% fmo#! $$ !eK#e%ce i% @Mo'er% Time!.@

%'eri%$ 'o0% "he !"ree"1 mi%'i%$ hi! o0% )#!i%e!!1 %i8e )#" helpf#l Chrlie !ee!

re' '%$er fl$ fll from "he e%' of p!!i%$ "r#c %' pic! i" #p. hile r#%%i%$ lo%$

%' 08i%$ "h" re' fl$ i% % i%%oce%" ""emp" "o c"ch "he 'ri8er! e*e1 "he Li""le Trmpi! e%"irel* #%0re1 ! he ro#%'! !"ree" cor%er1 "h" he h!


23/26

ch%$e. B#" o#r rel"io%!hip "o R#!!i %' 6erm%* 0o#l'. D#ri%$ "he *er! of "he

Hi"ler9S"li% Pc"1 Americ! officil po!i"io% 0! i!ol"io%i!"1 %' Chpli%! !peech i%

@The 6re" Dic""or@ 0! !ee% ! i%ci"i%$ "o 0r. B* "he "ime "he %i"e' S""e! 0!i%8ol8e' i% orl' r II1 %e0 lli%ce! 0ere formi%$. Poli"ic! '#ri%$ "hi! perio' m'e

!"r%$e )e'fello0!. The Americ% Comm#%i!" Pr"* %' "he ri$h"90i%$ Americ Fir!"

Commi""ee 0ere #%ifie' i% "heir 'm%" oppo!i"io% "o "hi! co#%"r* e%"eri%$ "he 0r$i%!" 6erm%*. A%' i" 0! preci!el* '#ri%$ "hi! perio' "h" Chpli% filme' %'

premiere' @The 6re" Dic""or1@ 0hich ope%l* #r$e' Americ%! "o 0$e 0r $i%!" "he

N(i! re$r'le!! of 0he"her "h" 0r hrme' or )e%efi"e' "he So8ie" %io%.

he% "he So8ie" %io% %' Americ l"er )ecme llie! i% life9%'9'e"h !"r#$$le

$i%!" "he AJi! po0er!1 Chpli% co%"i%#e' 8oici%$ hi! 8eheme%" %"i9N(i ""i"#'e!. B#"

%o01 he l!o chmpio%e' So8ie" i%"ere!"! ! i'e%"icl 0i"h o#r o0%. Thro#$ho#" 231 hecmpi$%e' 8i$oro#!l* o% )ehlf of R#!!i% r Relief %' Seco%' Fro%".

Bec#!e of Chpli%! 0orl'0i'e !""#re ! % r"i!" %' "he )ili"* of Chpli% !"ire "o

"icle f#%%* )o%e! o% !#ch m!! !cle1 "ho!e 0ho 'i!$ree' 0i"h hi! poli"ic! 8ie0e'him ! formi')le '8er!r*. B#" if hi! )ili"* "o i%fl#e%ce 0ere "o )e effec"i8el*

%e#"rli(e'1 Chpli%! pop#lr im$e h' "o )e "e% 'o0% !e8erl %o"che!.

The )cl!h $i%!" Chpli% )e$% $"heri%$ mome%"#m i% l"e 23. e!")roo

Pe$ler1 co%!er8"i8e


24/26

)#%'%" e8i'e%ce of hi! i%%oce%ce +0hich he e8e%"#ll* pro8e'- i" l!o !#$$e!"! "h"

"he FBI !#pplie' $o!!ip col#m%i!"! 0i"h i%form"io% from "ho!e file! %' "h" "he )#re#

e8e% !#ppre!!e' +%' ph*!icll* hi'- i%'ic"io%! of


25/26

>er'o#J@ i% 23. Di!"i%c"l* 'i!i%"ere!"e' i% 'i!c#!!i%$ hi! film1 "he* 0ere "here "o repor"

o% hi! poli"ic!. The* )om)r'e' him 0i"h K#e!"io%! )o#" hi! p"rio"i!m. The Col' r

0! he"i%$ #p. Hi! $oo'9%"#re' ""emp" "o h#moro#!l* 'eflec" "heir ho!"ili"* )*'e!cri)i%$ him!elf ! @pece mo%$er@ 'i' %o" $o o8er.

Af"er0r'1 0he% co%!er8"i8e poli"icl pre!!#re $ro#p! 'emo%!"r"e' "heir )ili"* "oi%'#ce Americ%! "o )o*co"" hi! film ! % c" of p"rio"i!m1 Chpli% )e$% "o f#ll*

ppreci"e "he eJ"e%" "o 0hich he h' #%'ere!"im"e' hi! oppo%e%"!.

@Limeli$h"1@ "he l!" film he m'e )efore le8i%$ "hi! co#%"r* i% "he fll of 231 !#ffere'

% e8e% more 'r!"ic f"e. Ri$h"90i%$ lo))*i!"! 0ere )le "o )ri%$ !o m#ch poli"icl

pre!!#re "o )er o% m


26/26

film chaplin modern times, a review

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