Monsieur Verdoux (United Artists) (1947)

CHARLES CHAPLIN STORIES Chaplin Insists On Perfection In All Phases of Motion Picture Making Still No. CC7-P251 Charles Chaplin as Monsieur Ver¬ doux at the Theatre. No longer the little tramp, his new characterization is destined to be equally applauded. Mat (IB) .15 Only the genius of Charles Chaplin, genius with its traditional and infinite capacity for taking pains, would have dared to put on film so revolutionary a theme as that of “Monsieur Verdoux,” which opens at the Theatre on.. The projection of such a theme and the blending of the three great elements — laughter, comedy and drama — which combine in the motion picture are of necessity the work of one man, of Chaplin himself, who conceived the idea and then carried it out, to the smallest final detail. In “Monsieur Verdoux,” Chaplin is a modern French Bluebeard — devoted to the business of murder. Meticulously each bit of action, of dialogue, of sound is interwoven so that the finished product somehow emerges fascinating, delicate — and hysterically funny. Once Chaplin had conceived the theme and eventual scope of the film, he spent two entire years writing the script, correcting, adding and cut¬ ting. Toward the end of this time he began rehearsing the dialogue with a partial cast with a view toward improving the lines, then he re-wrote the script once more. The casting itself was slowly and carefully accomplished, since the perfection of even the briefest sequence depended upon authentic char¬ acterization. Drawn from stage and screen, proven dramatic veterans were in some cases put in roles entirely dissimilar to any they had played before, with resulting freshness and novelty. Screen newcomers were also used, because Chaplin, famous for launching new personalities on star¬ ring careers, likes to seek out new and bright talent. Fifty-two sets and every detail of the costuming for “Monsieur Ver¬ doux,” both of which are designed to give universality to the time and locale of the picture, were the work of the comedian. Once the picture was in production, the star gave the same minute attention to props, lighting and camera angles. Direction, tailored to the varying needs of each player, was also Chaplin’s concern. And the startling and unusual music, which serves to integrate the picture’s explosive ingredients was created entirely by Chaplin. Viewing the rushes each day, the comedian supervised all film edit¬ ing and cutting. Finally, the business management and the scheduling of scenes also came under his jurisdiction. In a recent magazine article, an actor who had worked with Chaplin, describes this modern Hollywood phenomenon — a man who is the sole creator of a film destined to become a screen classic. Summarizing, he says: “Nothing is too small for Chaplin — because nothing is too big.” With Chaplin as the star, “Monsieur Verdoux” features Martha Raye, Isobel Elsom, and Robert Lewis, and introduces for the first time Marilyn Nash. Chaplin wrote and directed “Monsieur Verdoux” himself with Robert Florey and Wheeler Dryden as associate directors. The picture is released through United Artists. Chaplin has changed. As Monsieur Verdoux in his new, startlingly funny picture at the.Theatre, he has discarded his little tramp for a suave boulevardier. “Monsieur Verdoux” is a United Artists release. Mat (2H) .30 NEVER A DOUBLE Charles Chaplin never uses a double when he makes a film. In “Monsieur Verdoux,” his sensa¬ tional new picture which opens at the.Theatre on., it is Chaplin himself who backs through a second-story chateau win¬ dow and who is tipped into the lake by the ebullient Martha Raye. The matchless comedy for which Chaplin is globally famous and which is at its hilarious height in “Monsieur Verdoux,” gains by the fact that every gesture however dis¬ tant — or submerged — is inimi¬ tably Charles Chaplin. When the comedian becomes in¬ volved with revolving doors, tussles with a teacup, or is dumped into the lake by an irresponsible row¬ boat, no searcher-out of movie flaws can say that the final move¬ ment is less funny than the first. No double could duplicate the unique artistry of Chaplin, who has eluded professional imitators from the beginning of his career. In a hysterically funny face-slap¬ ping sequence in which the pro¬ tagonists execute a sharp staccato of blows for the delighted audience, the special sound track was made by Chaplin himself, exchanging perfectly timed blows with his as¬ sociate director. In “Monsieur Verdoux”, Chaplin has provided his world-wide audi¬ ence with something entirely new —a haunting, frightening love story and a shocking drama combined with delightful comedy. With Chaplin as the star, “Mon¬ sieur Verdoux” features in addi- tion to Miss Raye, Isobel Elsom and Robert Lewis, and introduces for the first time Marilyn Nash. Chap¬ lin wrote and directed “Monsieur Verdoux” himself with Robert Florey and Wheeler Dryden as as¬ sociate directors. The picture is re¬ leased through LTnited Artists. Wistful Little Tramp Becomes Urbane Man-About- Town but Stays Indisputably Charles Chaplin When Charles Chaplin mixed the explosive brew of his sensational new film, “Monsieur Verdoux,” which opens.at the. Theatre, he added ingredients never before seen on the screen — a strange, frightening love story and a startling, satirical murder drama. But the priceless comedy which has always been the greatest ele¬ ment of all Chaplin films, and made them the world’s favorite enter¬ tainment, is in no wise diluted in “Monsieur Verdoux.” The pure slapstick fun for which Chaplin is globally famous is made even more potent by the addition of the new ingredients. Although Chaplin is no longer a wistful little tramp but instead is an urbane, sinister boulevardier who woos, wins — and eliminates— the ladies, he is still the great comedian who can set an audience into gales of laughter by putting his finger to his cheek. The proverbial cook who thinks a single hand results in a better broth, Chaplin supervised each minute detail of “Monsieur Ver¬ doux,” and successfully blended the revolutionary ingredients into a fascinating and entertaining whole. “The first thing I think about when I make a film is whether or not it is entertainment,” Chaplin has said. “What counts is that people enjoy my work.” At the age of 28, Chaplin was not only one of the most famous and best loved actors in the world, but also one of the wealthiest. He al¬ ready had his own producing com¬ pany and his own studios in Holly¬ wood. The son of theatrical parents, he was earning his own living from the time he was nine years old. By his own admission, his schooling was spasmodic. But, even as a very young boy, those who knew him say that Charles was studious. When he joined the Kamo Repertoire Company as a lad in his teens, he was never to be found in the “gay spots” when the day’s work was done. Instead he would remain in his room, trying out new steps and figuring out “funny business” that would make his part of the show outstanding. That he succeeded is a matter of record, for in 1913, when the com¬ pany came to the United States, an agent for Mack Sennett spotted him immediately. From that memorable day, in November of that year, when he first entered pictures, his rise has been meteoric. After the first two Sennett pic¬ tures, he wrote and directed his own comedies. When his contract expired, Chaplin signed with Es- senay at a greatly increased salary, then went on to Mutual and the First National Companies. Upon completion of this latter contract, he decided to produce for himself. And who will ever forget such great films as “Shoulder Arms,” “The Kid,” “Woman of Paris,” “The Gold Rush,” “The Circus,” “City Lights,” “Modern Times” and “The Great Dictator”? Author, producer, director and star of all his productions with the single exception of “Woman of Paris,” in which he did not appear, Chaplin’s talents appear endless. Author of several books, many songs as well as the greater part of the musical scores of “City Lights,” “Modern Times” and “The Great Dictator,” and the complete score of “Monsieur Verdoux,” he has, in addition, an enviable reputation as an athlete, is an expert tennis play¬ er, a keen angler, a gifted musician (playing practically every known musical instrument, although he has never taken a lesson nor can he read music), and is a recognized authority on economics and world affairs. In fact, a list of what Charles Chaplin cannot do would be easier to compile than one containing his many accomplishments. Although famous literary critics have variously called “Monsieur Verdoux,” notable, significent and searching, Chaplin himself has his own simpler term for the picture. He calls it, “my funniest.” “Monsieur Verdoux” features Martha Raye, Isobel Elsom and Robert Lewis and introduces for the first time Marilyn Nash. Chap¬ lin wrote and directed “Monsieur Verdoux” himself with Robert Florey and Wheeler Dryden as as¬ sociate directors. The picture is re¬ leased through United Artists. Still No. CC7-P212 As the gay boulevardier in “Mon¬ sieur Verdoux”, Charles Chaplin buys a boutonnier from pretty Lois Conklin. The film is at the Theatre through United Artists release. Mat (IF) .15 Page Twenty-four