Charlie Chaplin (1951)

cc 196 brushes his hair and opens the door — on a donkey who consumes one of the paper favors before he is chased out. Eight o'clock. A shot of Charlie, leaning on his elbow, patiently waiting, dissolves to one with the room crowded and festive, the merry girls at the table opening their presents, Georgia thanking him and letting him kiss her hand. The girls call for a speech and Charlie, modestly begging off from oratory, offers to dance the "Oceana Roll" for them. Spearing a couple of bread rolls on two forks, he has them step like feet. Photographed seated at the table in semi-close-up, the scene is so arranged and lighted as to make him appear like a caricature — a huge head and tiny body. He performs a sort of Highland Fling with the bread-feet. With each change of steps or rhythm his expression undergoes corresponding changes, and his eyes follow as he high kicks, slides from side to side, turns, hops sideways, does splits, dribbles off to the "wings," and returns for bows. As the girls applaud, Charlie bows, and is so overcome when Georgia kisses him that he sinks to the floor. But the scene dissolves back to Charlie asleep at the table — and alone. In the dancehall the clock hand nears twelve. Georgia and Cameron have made up. Standing on the bar, Georgia fires off revolvers — the boom town equivalent of New Year's chimes. The sound rouses Charlie who goes to the door, to feel his disappointment and loneliness redouble as all in the dancehall join together in singing "Auld Lang Syne." Then the Virginia Reel is started. Georgia suddenly remembers her promise. She is not a mere adventuress after all. While Charlie gazes into the window of the dancehall, then wanders off, Cameron takes the girls to the cabin. Touched by the dressing of the table, the remorseful Georgia repulses and slaps the persistent Cameron. In the Recorder's Office, Big Jim describes his claim, but can't remember its location. The clerks consider him