A King in New York

A King In New York was a pure delight to watch. Seeing perhaps the greatest actor of the first half of the century is always a treat and he doesn't disappoint in this film. Chaplin made this satire as a shot at the United States, who only five years earlier had denied him re-entry into the country. This was based on the fact he wouldn't come before the McCarthy hearing and make a statement on his supposed ties to the Communist party. Regardless of the basis for this film's comedy pieces, one can find a few moments where Chaplin is taking a direct shot at those who had doubted him.

The plot involves Chaplin as King Shadov, a ruler of a ficticious country whose people have ousted him based on his unwillingness to manufacture Atomic Bombs. He would rather spend the taxpayers money on finding ways to create atomic energy. Obviously this is a deliberate analogy of Chaplin being thought of as a communist although the complete opposite was the truth. So, the exiled leader goes to America in search of a fun vacation in which he can experience the excitement that he had heard about so many times before. The viewer follows Shadof and his trust aide throughout New York City and their many hilarious experiences. The best of which that come to mind are the scenes in which Chaplin pantomimes his order to a waiter who cannot hear him, the scene in which Chaplin recites the famous "to be or not to be" soliloque from Hamlet to guests at a dinner party and the scene in which Chaplin gets his finger stuck in a fire hose and cannot get it out.

One can see some elements of the tramp in Chaplin in this film including the facial expressions, his smile and the way he moves about gracefully. I had never seen Chaplin in a talking film before this one and was somewhat surprised to see how much of a great talking actor he truly is. For an actor who had done so much in silent films and only silent films, this film shows that Chaplin is one of the top actors of this century.

The only element of this film that somewhat disappointed me was the manner in which the hearings were brushed off. I believe that there was plenty of room for some gags to be thrown in here. Perhaps Chaplin felt as if he had already taken enough shots and didn't need to exploit this area.

This film is yet another example of the Chaplin greatness and I would recommend it to anyone who loves films or are interested in seeing film making magic.

8/10 stars.

Now, I've yet to see A COUNTESS FROM HONG KONG, but out of Chaplin's full-length talkies, I didn't find A KING IN NEW YORK terrible by any stretch. In fact-- and I might lose cinephile points for admitting it-- I'd take this over the more prestigious LIMELIGHT any day! It's less self-indulgent and self-loving, and the satire of American media culture still mostly works.

Why does this get so much hate? Maybe it's the film's roughness. It's clearly set-bound and those sets do look cheap most of the time. But money can't buy inspiration, and I think this movie has more than enough inspiration to make up for its lesser production values. Many of the vignettes are delightful and the bittersweet edges (the subplot with Shadov's estranged queen, the character arc of the philosophical young boy) lend this film a great deal of memorability.

"A King in New York" is one of those few films that gets better and better every time you see it.

Yes, it's flawed--the sets look shabby, and some of the dialogue is stilted and melodramatic. Yet despite these shortcomings, AKINY still stands out as a wonderful, playful satire of 1950's America.

For those of you who may not know, Chaplin himself was targetted by the U.S. government at the time for his alleged communist leanings. In fact, AKINY had to be shot in Britain (Chaplin's birthplace) only because Chaplin and his family had been forbidden to re-enter the U.S after a short vacation overseas.

AKINY was Chaplin's response to the nonsense and paranoia that pervaded American society at that time. Chaplin also pokes fun at America's obsession with technology and the media--a point which is even more relevant today.

Chaplin plays King Shahdov, a deposed monarch who flees to America in the hopes of selling his plans for a peaceful, nuclear-based society (which never happens). Chaplin plays Shahdov as an honest, but hapless European monarch thrust into the dizzying whirl of modern America. Chaplin is at his absolute best here as a befuddled and somewhat puzzled outsider.

Shahdov soon meets up with two people. The first is Ann Kay (Dawn Addams), a beautiful young woman who seduces the King and lures him into appearing in her television commercials, and Rupert Macabee (played by Chaplin's son, Michael), a brilliant young boy whose parents have been imprisoned by HUAC. Also worth noting is Ambassador Jaume (Oliver Johnston), Shahdov's loyal friend and confidante. Johnston and Chaplin play off each other beautifully, and together they share some of the film's funniest moments.

AKINY is full of priceless "bits of business," as Chaplin used to say--there's a hilarious restaurant scene in which Chaplin mimes his order to the waiter in order to overcome the dreadful racket from the house band.

Then there's the scene in which Shahdov's newly lifted face become "unhinged" as he bursts into laughter at a comedy show. Chaplin slyly slips in and out of these bits (which are essentially silent comedy pantomimes dating back to his earliest days in English Music Halls) with great ease.

Such scenes provide the most satisfying moments in the film. Here, behind Chaplin's aged face and body, you can still see the little tramp come to life, and it's wonderful.

AKINY is vastly underrated by most critics who, for some reason, obsess over the sets, and virtually ignore what is truly one of Chaplin's masterpieces. AKINY is rarely screened in North America for some reason, so if you get the chance to see it, don't pass it up.

With his country in revolt, King Shahdov escapes to New York. His funds soon start to run dry so he uses his fame to make money appearing in advertisements. He helps a boy who has run away from home but this lands him in trouble with the communist witch-hunt of the time.

A Charlie Chaplin comedy that, like many of his comedies, contains some interesting social commentary.

It starts entertainingly enough, with King Shahdov's escape and his settling into New York. The "forthcoming attractions" during his visit to a cinema are hilarious and made me think this could rival Chaplin's classic comedies like City Lights, Modern Times, The Gold Rush, The Kid, The Circus and The Great Dictator.

Unfortunately, however, the comedy, and the film in general, is a bit uneven. There's some very funny moments but then also some scenes that just fall flat, e.g. The scenes involving his appearance at the school were largely quite irritating. The appearance of Dawn Addams as Ann Kay was a major positive though...

The drama side is also a bit weak and the sub-plot involving the boy initially seemed to more rely on empty sentimentality and some silly hijinks than anything else. However, this does evolve into a decent examination on the absurdity of the communist witch-hunts of the late-40s and early-50s. The subject is quite a personal one for Chaplin as the FBI used these witch-hunts as part of their campaign against Chaplin and this drove him out of the US.

Unfortunately, while the McCarthyism sub-plot is reasonably profound and has a satisfactory conclusion, it is resolved far too quickly, making it seem like a quaint little add-on to the main plot. Chaplin could have done much more with this and made it the main focus of the film. Considering how personal the topic was for him, I'm surprised he didn't.

Ultimately a reasonably entertaining and profound film.

Am a big fan of Charlie Chaplin, have been for over a decade now. Many films and shorts of his are very good to masterpiece, and like many others consider him a comedy genius and one of film's most important and influential directors.

It is hard to not expect a lot with all his feature films between 'The Kid' and 'Limelight' being very good to masterpieces. On that front Chaplin's penultimate film 'A King in New York' disappoints a little. As far as his feature films go it is one of his weaker ones, being nowhere near the standard of 'The Gold Rush', 'The Kid', 'Modern Times', 'The Great Dictator' and especially 'City Lights'. As far as his overall career goes it is nowhere near among his worst, including his early career short films it is much better than the worst of his Keystone period and even his much improved Essanay period had a couple of lacklustre ones. He also did a couple of historical curios and patchworks that this is also superior to.

'A King in New York' has its problems. It is one of his least visually refined feature films. Some of the camera work and editing are rough and the evoking of New York is not very convincing at all, it was made in England rather than being authentic and it is very obvious it was not shot in New York.

Chaplin also lays it on far too thick with the political elements which, while admirably cutting and personal, felt very heavy-handed and not always needed. Especially what is said from the young boy. Chaplin is no stranger to including politics in his films and short films and they are not subtle, but it comes over as very bitter and aggressive here in a way that wasn't there previously. A few parts go on too long too and could have been trimmed

However, the music is good, neither intrusive or out of place. Chaplin does give a typically great performance and the supporting cast acquit themselves well too. Chaplin is not at his most inspired in the directing but the expertise is still there and handled well.

The film is never dull either, while the satirical element is sharp, the comedy is genuinely funny, there is some very thought-provoking insight and there is some sentiment/pathos that is very touching while not being over-the-top or overused.

Summing up, good but didn't blow me away. 7/10 Bethany Cox