Charlie Chaplin (1951)

Record Details:

Title:
Charlie Chaplin
Date:
1951
Publisher:
New York : Henry Schuman, Inc.
Volume:
Charlie Chaplin
Leaf #:
000168
Language:
English
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
{"Media History Digital Library","Richard Koszarski","Jeff Joseph"}
Coordinator:
Media History Digital Library
Description:
Date Added:
March 21, 2024
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■ ■ 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 derived, as we have noted, from D. W. Griffith via Mack Sennett: the reliance upon improvisation on the set instead 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 revealing 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 incidents or characters observed in everyday life. A visit to a department store suggested "The Floorwalker"; observation of nrehouse routines led to "The Fireman"; meeting Jackie Coogan inspired "The Kid"; encounters during his trip around the world furnished ideas for "Modern Times"; etc. All his films are built on real back