Charlie Chaplin (1951)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

■ ■ X I V Chaplin's method By now Chaplin's method of working had crystallized and his films were the full artistic expression of a single mind. The basis of his technique had been de- rived, as we have noted, from D. W. Griffith via Mack Sennett: the reliance upon improvisation on the set in- stead of a written script, photographing scenes from many angles and retaking if necessary, narrative and dialogue in terms of action and pictorial effects, the use of re- vealing pantomime or what Griffith termed "attitudes," building up of effects through editing, etc. Chaplin saw "The Birth of a Nation" nearly every week during its long Los Angeles run. Such scenes as the homecoming of the Little Colonel (where only the arm of the mother is shown reaching out and drawing her wounded son into the door of their damaged home) left their mark on cinematic expression. In his last years Griffith proudly repeated Charlie's comment that the couple of dead bodies in this film had been far more telling than the whole abattoir in "Gone With the Wind." The inspiration for Chaplin's comedies came from in- cidents or characters observed in everyday life. A visit to a department store suggested "The Floorwalker"; obser- vation of nrehouse routines led to "The Fireman"; meet- ing Jackie Coogan inspired "The Kid"; encounters dur- ing his trip around the world furnished ideas for "Mod- ern Times"; etc. All his films are built on real back-