Filmography — Chaplin

When she smiles, you will understand why, nearly a century later, we are still following the Little Tramp down that lonely road.

This era birthed The Kid (1921). Here, Chaplin becomes a father. The scene where a social worker rips his orphaned ward (played by Jackie Coogan, the future Uncle Fester) from his arms is not funny. It is a silent scream. Chaplin had lost a child in infancy; the grief bleeds through the celluloid. chaplin filmography

When we think of Charlie Chaplin, a single, universal image appears: the toothbrush mustache, the too-tight jacket, the floppy shoes, and that cane twirling like a conductor’s baton. The Little Tramp is arguably the most recognized character in human history. When she smiles, you will understand why, nearly

Working at Keystone Studios under the frantic Mack Sennett, the early shorts ( Kid Auto Races at Venice , The Champion ) are raw and chaotic. This Chaplin is a punk. He kicks authority figures in the rear, throws pies with surgical precision, and moves at 16 frames per second (which makes the fights look like a cartoon on espresso). The scene where a social worker rips his

The funnier the gag, the closer it is to tragedy. The shoe-eating scene in The Gold Rush (1925) is hilarious because we know he is starving to death. Act III: The Rebel with a Cause (1931–1940) Most people think silent films died in 1927 with The Jazz Singer . Chaplin disagreed. While Hollywood bought microphones, he made City Lights (1931)—a silent film in the age of talkies.

Here, the Tramp dies. Chaplin shaves the mustache and grows a new one—a toothbrush for Hitler. In his first true "talkie," Chaplin plays a Jewish barber and a fascist dictator. The speech at the end, a six-minute plea for humanity, breaks the fourth wall and shatters the character. It is raw, preachy, and perfect. Roosevelt wanted it broadcast to Europe. Hitler, who was a fan of Chaplin’s earlier work, banned it. The post-war era was not kind to Chaplin. America accused him of being a communist (he wasn't) and a degenerate (he was a romantic). Monsieur Verdoux (1947) is his most dangerous film. He plays a Bluebeard who marries and murders rich widows. It is a black comedy where the hero argues that mass murder for profit (war) is acceptable, but serial murder for survival (his crime) is evil. America hated it. Chaplin left the US in disgrace.