Charlot - Chaplin

Robert Downey, Jr. gives another one of his splendid performances, Kevin Kline is perfectly cast as Fairbanks, and most of the direction is superb. However, the story hops around a few too many times, and the scenes with Anthony Hopkins are weak and obviously placed in order to clarify things to non- Chaplin fans who watch the film. Overall it is enjoyable, especially the parts when we see him creating his well- known masterpieces. Recommended especially for movie fans, and most especially for Chaplin fans.

An attempt to make a film that is both honest and at the same time shamelessly self-serving about its (auto)biographical subject -- the legendary comedian/director Chaplin -- is pulled off with style. It's fun to see some modern talents inhabit the roles of screen's bygone icons (though in some cases a little less charicature would have been appreciated, especially in the case of Mabel Normand). Kline, surprisingly enough, makes a convincing Fairbanks. The rest of the cast is also well-picked -- X-Files fans should watch closely to catch quite a few glimpses of lower-billed David Duchovny as Chaplin's personal editor.

The direction is very good; I particularly liked how some of the straight scenes were filmed in a comic, surrealist style (Chaplin's escape from the police w/ his cans of "the Kid" reels is staged like a Keystone Komedy), while some of what might have been more comic elements are played straight (Chaplin's attempt to convince his brother that "The Tramp" cannot talk in a movie is both funny and serious, for example). Some of the (perhaps true to life) melodramatic elements are a bit overplayed (the bit with his mom was handled too heavily for my tastes, especially her shouting his name as she's dragged away by the asylum guards), but generally the film avoids genre cliches and "easy" scenes.

Great photography.

Downey Jr. fits the roll well, even rising to many of the physical challenges of the Chaplin mystique.

A superior film of its type, laced with self-conscious humor and self-reflection on the artistic temperament.

The first thing one should know about "Chaplin" is that, paradoxically, very little of it has to do with Chaplin. Or, at least, it has more to do with the writers' illusions of him. The film claims to be based on "My Autobiography" and on "Chaplin: His Life and Art", by David Robinson. Having re-read the Autobiography before watching the film, it is clear to me that what the writers did was take basic incidents from the autobiography and embellish them with, I can only assume, parts of the Robinson book. What results is a series of scenes which were vaguely influenced by the facts, but so simplified and primitive that little of the original truth remains.

What the writers did not wish to acknowledge was that when Chaplin wrote vaguely or skimmed past certain parts of his life, he really didn't want anyone to delve into them - and the filmmakers did just that. "Chaplin" is not really about Charlie Chaplin, his work and films. It is simply ceaseless speculation on his personal life, but going on even more vaguely about it than the Autobiography.

I am well aware that almost every biopic focuses more on the personal life of a person than on their work. The problem is that most of the characters in "Chaplin" are so exaggerated and simplified that they become almost completely unbelievable - both as the real people AND as fictional characters. None of them are fully developed. This is not entirely the fault of the supporting cast (although it really is not that interesting): the fault lies with the screenplay, which is too often bland and melodramatic. This is especially obvious in the ridiculous subplot concerning the older Chaplin and his editor, which is the most pointless and badly done part of the film; even Hopkins cannot make the lines sound credible, which is all the proof anyone needs of their mediocrity. The film would have worked immeasurably better without these additions.

Many of the most interesting aspects and parts of Chaplin's life are completely ignored, oddly, with seemingly irrelevant or less important stories added in for little reason. One scene in particular is added only to insert a Chaplin-esquire physical comedy sequence which falls flat. The writers greatly accentuated everything to do with Hetty Kelly, even making the same actress play Oona O'Neill; the tried too hard to give him some kind of motive for his relationships, which only leads to more bias and speculation; and although I am by no means a Chaplin purist or even a very knowledgeable admirer, the blatant alterations on the actual history grated on my nerves.

All this being said, the film is certainly not a terrible one. Mainly, however, this is for one reason only, and that is - yes - Robert Downey Jr. himself. The praise he received for the role is by no means undeserved. As Chaplin he is perfect, managing to make the best out of his rather predictable lines, remaining interesting, believable, and in many parts moving. He has wonderful timing and intensity, and even looks the part (he could even do the roll dance). I really quite believed he was Chaplin. Even his performance, however, suffers greatly because of the lines - and the flash-forwards. I have no doubt that he could have played an even better Charlie Chaplin in a differently made film.

The greatest scene in "Chaplin", I think, is the opening credits: Charlie arrives in his dressing room, alone, sits, and begins to remove his make-up. The scene is in black and white, and there is no dialogue - only music. Every emotion is expressed simply through his eyes. If the rest of the film had been made like this, I actually think it could have been perfect. Either way, the lead performance is astounding, the music is beautiful, and though not very insightful or too true to history, this film is well worth watching.

Thankyou to Richard Attenborough for this film. I watched it many a time and enjoyed both the biographical aspect and the comedic one but it has also increased my interest in silent comics of this great era.

The film begins by exploring the early life of Charlie, his Brother Sid and his Mother as they try to scrape a living. Thankfully Attenborough doesn't concentrate too much on this deprived part of Chaplin's life. However it does reveal interesting facts about Charlie that he never forgot during his rise to superstardom.

Although Chaplin is played by younger actors at the begining it is the arrival of Robert Downey Jnr which Chaplin fans will anticipate the most. He puts in an amazing performance, his London accent is excellent and ability to do slapstick even better he also really makes you believe that the great man is alive and on the screen again.

The film rightly concentrates on the private life of Chaplin and the development of the cinema. Whilst others may want to see the film concentrate on Chaplin's great pictures e.g The Kid, Gold Rush, and the Great dictator Attenborough blends the creation of these films into specific turning points in Charlie's life. For example Modern times is used to show Chaplin's sympathy towards victims of the wall street crash, as he knew what it was like to be extremely poor. His Jewish connections are also highlighted by the Great dictator, which shows his sensitivities to the European Jews were more at heart than just a making a heap of cash by having a laugh at Hitler's moustache and goose stepping troops.

The film doesn't get bogged down by Chaplin's hectic love life, as Dickie explores Charlie's political beliefs and how J Edgar Hoover was convinced of he was a communist party member. By doing so it shows how Hoover was one of the most twisted individuals to hold public office, with a dangerous obsession on peoples private lives and background.

The film does a good job in showing how important silent stars were and how we should not forget that they were the true greats when films were developing all the time from shorts to feature length, from silent to sound.

This film is beautiful and intelligent, if a little ambitious and overlong (2 and a quarter hours). But it is so worth seeing, for the superb Oscar-nominated performance from Robert Downey Junior. The film starts off flawlessly, with beautiful incidental music from John Barry, and a fantastic performance from Geraldine Chaplin, who played her own grandmother.

We also see Fred Karno, robustly played by John Thaw, and Hetty , played by Moira Kelly(who did struggle with the accent). A standout from the supporting cast, was a lively performance from Kevin Kline, who brought some great energy into the role of Douglas Fairbanks. The performances in general are very good indeed, and the film looks ravishing with show stopping costumes and scenery.

However, it is after the death of Fairbanks, that the film starts to drag, and the title characters rapidly turn into a series of vignettes. As much a great actor Anthony Hopkins is, his turn as the fictional autobiographer was perhaps unnecessary. And I was a bit confused why they turned Hoover as a villain who wanted Chaplin out of the country. The ending is poignant, and Moira Kelly does better in her role as Oona.

The end credits were very educational, and the arrangement of Smile was one of my highlights of this beautifully made but ambitious film. Worth watching for those who are a fan of Richard Attenborough (the director) 8/10 Bethany cox