Carlitos em Desfile

Hearkening back to those "Good Old Days" of 1971, we can vividly recall when we were treated with a whole Season of Charles Chaplin at the Cinema. That's what the promotional guy called it when we saw him on somebody's old talk show. (We can't recall just whose it was; either MERV GRIFFIN or WOODY WOODBURY, one or the other!) The guest talked about Sir Charles' career and how his films had been out of circulation ever since the 1952 exclusion of the former "Little Tramp' from Los Estados Unidos on the grounds of his being an "undesirable Alien". (No Schultz, he's NOT from another Planet!)

CHARLIE had been deemed to be a 'subversive' due to his interest and open inquiry into various Political and Economic Systems. Everything from the Anarchist movement from the '20s (and before), the Technocracy craze to Socialism in its various forms were fair game for discussion at Chaplin's Hollywood parties; which of course meant the inclusion of the Soviet style, which we commonly call Communism.

COMPOUNDING Mr. Chaplin's predicament was both confounded by one little detail. He had never become an American Citizen.

ANYHOW, enough of this background already!

SUFFICE it to say that he had become 'Persona Non Gratis' in the United States of America. .It was high time to get the old films out of the mothballs and back out to the Movie Houses. It'd sure be a great gesture by us easily forgiving and quickly forgetting Americanos.

IT would be a fine gesture to the great film making artist; besides, the Academy of Motion Pictures Arts & Sciences was planning to honor Chaplin with a special tribute at the 1972 Oscar Show. This would surely be a tearful yet joyous packaging of pathos a plenty for having America invite Charlie back and have him come and receive a special Academy Lifetime Achievement Award in front of a World-wide Television Audience numbering in the Millions.

BESIDES, that would be a natural for promoting the Chaplin Season at the Theatre! (Remember, the Little Tramp was as astute as a Bu$ine$$ Man as he was as a Film Maker!) THE program consisted of showings of MODERN TIMES, CITY LIGHTS, THE GREAT DICTATOR, MONSEUR VERDOUX, A KING IN NEW YORK and finally THE CHAPLIN REVUE. We remember being very excited in the anticipation of the multi date film fest.

IN our fair city of Chicago, it was booked for the Carnegie Theatre on Rush Street. The festivities lead off with MODERN TIMES and all of the others would be shown one at a time, each staying for whatever period was necessary in order to satisfy the public's desire to view each picture. As we recall, the very last on the schedule was THE CHAPLIN REVUE.

IN RETROSPECT, we look back and wish that they had begun the run with REVUE; as there were undoubtedly legions of moviegoers (much like ourselves) who knew very little about his accomplishments in motion pictures, except for those Keystone, Essanay and Mutual Silent Shorts that were being shown as regular feature on so, so many Kiddy Shows all over the country. Oh well, once again, no one consulted me!

CONCENTRATING on today's honored guest film, THE CHAPLIN REVUE, we found that it was actually three separate pictures; carefully bound together by the use of narration by Chaplin (Himself), some lively Themes and Incidental Music (once again written by Chaplin) and some happy talk and serious narration (Ditto, by Chaplin.) He opens up the proceedings by making use of some home movie-type of film depicting the construction of the Chaplin Studio in Hollywood, as well as some film taken of some rehearsal time, showing Director Chaplin demonstrating just what he wants to a group of actors.

THIS segment was well done and well received by the audience. Both the building humor and the rehearsal were amplified by making them seem accelerated. (The rehearsal naturally, the building by use of speeding up the camera's photographic process. The old trick makes it appear that the buildings were almost building themselves.

THIS amalgam of shorts incorporated three of Chaplin's short comedies from his stint with First National Pictures.; roughly that being 1917 to 1923. The choice was well thought out and gave us a wide variety of subject matter and mood.

FIRST up was SHOULDER ARMS (Charles Chaplin Productions/First National Pictures, 1918). As the title suggests, it is a tale of World War I. Released in October of 1918 with about a month to go before the Armistice Day of November 11, it was a comedy of comical Army gags and a romance between Private Chaplin and a French Girl (Miss Edna Purviance). The levity is fast, physical and in the grand old tradition of ridiculing the Enemy, the German Army.

DISPLAYING an excellent example of the old adage about Children and Dogs bringing folks together, the next film A DOG'S LIFE (Chaplin Productions/First National, 1918) traces the parallel lives of Chaplin's Tramp and a newly adopted stray, Scraps. The movie story involves families, two of them. One Homo Sapiens, one Canine and both supplying us with some big surprises.

AS the finale, we have THE PILGRIM (Chaplin/First National, 1923) was a good choice to have as the finale. It was bright, light and tight. It was an excursion into the area of the Western Spoof, Comedies of such type having been done since by every comedian and team. The "Pilgrim" in the story is not of your standard Thanksgiving Variety; but rather a "dude" or "Tenderfoot", who has ventured out West. The Tramp is not only that guy; but his character is an escaped Convict who is mistakenly thought to be the new Clergyman of a Western town's Church!

OUR Rating (that is Schultz and Me) is ****. (That's Four Derbies)

POODLE SCHNITZ!!

THE CHAPLIN REVUE is one of those films that seems like a curse to some and a blessing to others. For people just looking for some classic Chaplin, circa 1918-1923, this is the place. But for hardcore Chaplin fans this film seems somewhat of a let-down. Chaplin took three comedy classics of his-A DOG'S LIFE, SHOULDER ARMS, and THE PILGRIM-and tampered with them to create a new revue film. He stretch-printed them, which was supposed to slow them down to sound speed, but only succeeded in marring the pace, which is the thing that made these slapstick shorts so magical in the first place. Then again, this film offers these three masterpieces to a whole new generation of viewers, who, if they haven't seen the originals, will be just as pleased by this sampling of Chaplin at his comic best.

The "Chaplin Revue" is a re-edited version of three of Chaplin's classic silent comedies, spliced around some brief but interesting comments by Chaplin himself. It is a great opportunity to see three of his classic short features that are otherwise hard to find. They have a slightly different feel from the original versions, in that the pace is a bit slower, and there is new music. But it's still the same Charlie Chaplin slapstick plus worthwhile observations on humanity.

"Shoulder Arms" is the best of the three, ranking among the finest of all of Chaplin's pictures, and is a nearly flawless feature. The other two are very good as well. "A Dog's Life" features a very nice balance between slapstick humor and sympathetic characters, and "The Pilgrim" features some of Chaplin's favorite themes of identity mix-ups and interplay between different social classes.

The "Revue" is well worth seeing, either for Chaplin fans or for anyone looking for an introduction to some of his shorter, less famous works.

Most of Chaplin's most famous films are his full-length features. And, I assume most people have at most seen only a few clips of him from his pre-feature days when he starred in dozens and dozens of comedy shorts. This is really a shame, as some wonderful shorts are pretty much waiting to be discovered by the world in the 21st century.

If someone watches this film they have an excellent chance to see some of Chaplin's better shorts because Chaplin himself chose these three shorts and strung them together with a bit of narration to make this 1959 feature film. This is great for several reasons. First, in Chaplin's earliest films from 1914-1915, his character of the Little Tramp is still in its earliest incarnations or is absent altogether. Plus, even when he is there, he was often mean-spirited and self-centered--something very alien from the Little Tramp we have grown to love. Second, because the shorts that were chosen were in great condition, if you watch this film you won't need to worry about watching scratchy film with gaps and lousy musical accompaniment that doesn't fit the action (a common problem).

So, for a great look at Chaplin's shorts at their finest, give this film a chance. It's sure to provide you some excellent laughs.

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.

The short films that form 'The Chaplin Revue' ('A Dog's Life', 'The Pilgrim' and 'Shoulder Arms'), made when Chaplin had found his groove and building upon it, showed a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career. The Essanay and Mutual periods were something of Chaplin's adolescence period where his style had been found and starting to settle. Something that can be seen in all three shorts forming 'The Chaplin Revue', hard to decide which is my personal favourite of three of his best short films and three of the best efforts of his relatively early career.

The stories are more discernible than before and are never dull, though sometimes a bit too busy and manic.

On the other hand, 'The Chaplin Revue' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work and not churning out countless shorts in the same year of very variable success like he did with Keystone. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious here in 'The Chaplin Revue'.

While not one of his most hilarious or touching, all three, especially 'Shoulder Arms' are still very funny with some clever, entertaining and well-timed slapstick and has substance and pathos in particularly 'A Dog's Life'. 'The Chaplin Revue' moves quickly and there is no dullness in sight.

Chaplin directs more than competently, if not quite cinematic genius standard yet in this period. He also, as usual, gives amusing and expressive performances and at clear ease with the physicality and substance of the roles. The supporting cast acquit themselves well in all three.

Overall, great as a representation of what Chaplin's appeal was. 9/10 Bethany Cox