Un roi à New York

... while he himself was basically exiled in a strange land. 1957's "A King in New York" shows Chaplin at the end of his film career. In fact, it is the last film in which Chaplin himself stars. Refused permission to reenter the U.S. in 1952 due to the idea that he held anti-American beliefs, he actually made this film about a deposed European king in New York in England. The film suffers from production values that are not as high as they were in Chaplin's earlier films, and if you have the version Warner Brothers put out in 2004, the commentary points out that Chaplin had much trouble making this film mainly because he was not dealing with familiar personnel in his own studio as he had in his earlier efforts. The film's political statements are heavy-handed, but there are still some good comic turns by Chaplin and his viewpoints and comic bits on America and rampant commercialism and consumerism still hold up today. In fact, they are probably much more relevant today than they were when this movie was first made.

If you are curious about Chaplin's work you need to eventually view this film, just don't start your journey here. If you are just starting out, I recommend you view Chaplin's Mutual Comedies. These are 12 two-reel comedies Chaplin made in 1916 and 1917 and show his comic technique evolve from the pants-kicking fests of his Essanay and Keystone films into the sophisticated technique he had from the end of the series onward. Also, the Mutual period was named by Chaplin himself as the era in both his personal and professional life in which he was the happiest.

When I rented this movie, I had no idae what to expect. Charlie Chaplin in a talkie?! I had just seen (heard?) how poor Buster Keaton's awful voice destroyed his presence as the classic stone-faced pantomine. Might Mr. Chaplin's performance in a speaking role be as sadly disappointing???

The answer in a resounding word was, "NO!" If anything, Chaplin's voice and accompanying ability to express himself with words enhanced his screen presence by providing a new dimension with which to appreciate his seemingly limitless talent.

I'm not sure just how to explain this other than the fact that I watched most of the film with a big grin glued to my face. I marvelled at the subtleties of Chaplin's performance which distinguish him not only as a silent movie actor, but as an actor of ANY era! In today's world of over-the-top silliness and questionable acting passing as good comedy, his performance is a clear indication that intelligent comedy is not an oxymoron and that the "King" of it is the same person as the king of slapstick.

If you're the kind of person who appreciates the subtlety in Woody Allen's humor, you will find yourself marvelling at "A King in New York" and you will see (and hear!) a part of Charlie Chaplin you may not ever have known existed.

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.

Charlie Chaplin's A King in New York is a fine film to see when it's a laid-back afternoon and it comes on TV, as it's a bit of a surprise to come upon. It's a later Chaplin film, where he's no longer the iconic Tramp, yet in a way the logic of one of those films in terms of the society at large is still being toyed with. This time, instead of being on poverty row with holes in his shoes and a sweet and enduring love for a street girl, he plays a king whose country has gone to war and without many prospects financially comes to America to do commercials for products that he would surely rather not be pushing on the public. As life does imitate art (as far as the stereotype goes it does have a ring of constant truth), Chaplin at the time was an exile, kicked out of America for being a supposed communist, and with his non-prolific career going a little bit on the slide, he made the film as a quasi-light attack on American consumerism, of the vanity and stupidity that can come out of prosperity.

But at the same time, there is still the sensibility that Chaplin loves life and individuals, if not certain groups. This can be seen in the child character- one of Chaplin's own sons- who through his very intelligent but arrogant manner is one of the nicer and funniest characters in the film. While a lot of the humor, sometimes rather dry, is in seeing Chaplin's King and his assistant/butler talk of money problems and in the observations of the 'other', the best scenes come in showing what levels King Shadhov has to sink to in trying to pay his expensive hotel bills and stay afloat in a strange land. My favorite scenes where Shadhov's botched plastic surgery debacle, where it's funnier seeing the King trying not to laugh at a slapstick spectacle than the actual spectacle itself, and the scenes of the King trying to shill the items, often to the dissatisfied directors (I'm reminded of Lost in Translation, and in fact Chaplin's scenes are probably more successful than Coppola's).

Although the film is preachy at times- it's best when Chaplin goes for the more succinct jabs as opposed to the grandstanding, ironic since it worked perfectly at the end of the Great Dictator- the overall high-spirited and serenely theatrical direction makes this a worthwhile effort. Far from being the controversial film it got a reputation as following a non-release in the 50s in the US, it's only a cunning satire, with moments light and foreboding, and it deserves to be seen just as much as Chaplin's classics (if only by his fans, who might be apprehensive at the filmmaker making too many 'statements').

"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.