The Great Dictator.

Review #1054: The Great Dictator.

Cast: 
Charlie Chaplin (Adenoid Hynkel - Dictator of Tomania / A Jewish Barber), Paulette Goddard (Hannah), Jack Oakie (Napaloni - Dictator of Bacteria), Henry Daniell (Garbitsch), Reginald Gardiner (Schultz), Billy Gilbert (Herring), Maurice Moscovitch (Mr. Jaeckel), Grace Hayle (Madame Napaloni), Carter DeHaven (Bacterian Ambassador), Emma Dunn (Mrs. Jaeckel), Bernard Gorcey (Mr. Mann), Paul Weigel (Mr. Agar), and Chester Conklin (Barber's Customer) Directed by Charlie Chaplin (#353 - Monsieur Verdoux, #599 - The Kid, #600 - City Lights, #759 - The Gold Rush, #775 - Shoulder Arms, #820 - Modern Times, #923 - The Pilgrim, #1025 - The Circus, and #1041 - A Woman of Paris)

Review: 
The Great Dictator was Charlie Chaplin's first true sound film, along with his first without his character of "The Tramp", which he had utilized for his silent films. In any case, the film was released a year after the beginning of World War II, with Chaplin playing a parody of Adolf Hitler and Oakie playing a parody of Italian dictator Benito Mussolini, although it was noted by Chaplin in later years that had he knew about the horrors of the concentration camps, he wouldn't have made the film. The film manages to be brilliant in utilizing comedy, satire and drama without having either of its elements being lost in excess, being a funny but also brave movie that holds its principles together by finding a balance in its two environments, with credit going to Chaplin and his script. Chaplin also does a tremendous job in both of his roles, having a fine distinct nature that works well within the mistaken identity parts later on, with the dictator parts having numerous highlights with all of the gestures and posturing that definitely strikes a chord. The parts with the barber might remind you a bit of the Tramp, although he plays it more of a outsider type that certainly fits. Goddard does a fine job in her parts on screen, having fine chemistry with Chaplin at points. Oakie does a stand-out job, having the correct amount of bombast and stature that makes for amusing rapport with Chaplin when they are both on screen together, particularly one scene involving chairs. Daniell and Gardiner also do fine jobs in their parts, distinct in their roles within the dictatorship that leave room for amusement. The rest of the actors do fair jobs in their roles. There are numerous great sequences and gags involving both slapstick and language, with one of my favorites being the ballet with a globe, which is helped by the music by Meredith Willson and Charlie Chaplin, fairly brilliant in its own right that has a fine timing to them that helps contributes to the flow of the film effectively for several scenes. The cinematography by Karl Struss and Roland Totheroh (a regular for some of Chaplin's films) is acceptable for the movie and its look.

The film does run finely at 124 minutes, never feeling too long. I will state that the climax of the film feels a bit sudden, particularly since it ends with a speech, which is an inspiring piece at least, so I can't blame Chaplin for wanting to incorporate it in a film he had all control over. Since that serves as the last point for the film, it is strange to wonder what would've happened after that point in the film, although apparently a folk dance sequence was apparently going to serve as the finale, and there were also plans to include shots of people from all over the world that would accept the message of peace, but these were abandoned after a bit of shooting from Chaplin. In any case, the movie isn't ruined by the last part, so take his words for what you will. The film was nominated for five Academy Awards (Outstanding Production (now known as Best Picture), Best Actor, Writing (Original Screenplay), Best Supporting Actor (Oakie), & Best Music (Original Score), although it fell short each time. It has since been selected by the Library of Congress for preservation in the National Film Registry, and it is easy to see why. This is a brilliantly made movie that serves as a fine piece of entertainment for all ages that belongs with the rest of Chaplin's classics for a look.

Overall, I give it 9 out of 10 stars.

A Woman of Paris.

Review #1041: A Woman of Paris.

Cast: 
Edna Purviance (Marie St. Clair), Clarence Geldart (Marie's Father), Carl Miller (Jean Millet), Lydia Knott (Jean's Mother), Charles K. French (Jean's Father), Adolphe Menjou (Pierre Revel), Betty Morrissey (Fifi), and Malvina Polo (Paulette) Directed by Charlie Chaplin (#353 - Monsieur Verdoux, #599 - The Kid, #600 - City Lights, #759 - The Gold Rush, #775 - Shoulder Arms, #820 - Modern Times, #923 - The Pilgrim, and #1025 - The Circus)

Review: 
The film (sometimes referred to as A Woman of Paris: A Drama of Fate) begins with a preamble: "To The Public -- In order to avoid any misunderstanding, I wish to announce that I do not appear in this picture. It is the first serious drama written and directed by myself. Charles Chaplin." This was the first film that Chaplin distributed through United Artists, which he had founded with D. W. Griffith, Mary Pickford and Douglas Fairbanks in 1919; the film was released seven months after the release of The Pilgrim (#923) through First National Pictures. The film was meant to help boost Purviance's career, although this did not happen. This was her last starring role prior to her retirement from acting in 1927. At the time, Chaplin was well known for his comedic works, and despite Chaplin's statements over how one should enjoy this film as a drama, it didn't prove too appealing for audience and thus it was not a success. The film was re-issued in 1976 by Chaplin with a new musical score along with having a shorter run-time due to cuts, which shortened the run-time from 82 minutes to 78.

With all of that history that I mentioned, how is the film? I think that the movie is fairly well-made, much like other Chaplin-directed films that preceded and followed this film, being constructed fine enough within its drama. I wouldn't consider it any too great, but I'd say that it would likely fit as a hidden gem. The film doesn't fall prey to too many cliches with regard to its characters, having a bit of originality along with some clever touches. Purviance does a fine job with what she's given, having a bit of alluring nature to her while not falling prey to being too obvious with her movements. Miller does an okay job, giving a performance that isn't anything too special, but it isn't anything that ruins the mood. Menjou is the one who stands out the best, having an air of sophistication that works to his advantage in making an entertaining performance. The other cast members do fine jobs for what they are meant to do, with the parents being interesting contrasts to their offspring. It's a bit of a morality play, but at least it isn't any too overblown or too out of the bend, for lack of a better phrase. It may take a bit of time for the film to really get itself going, but it manages to have some sort of impact by the time it gets to its climax.

Overall, I give it 7 out of 10 stars.

The Circus.

Review #1025: The Circus.

Cast: 
Charlie Chaplin (A Tramp), Al Ernest Garcia (The Circus Proprietor and Ringmaster), Merna Kennedy (His Step-daughter, A Circus Rider), Harry Crocker (Rex, A Tight Rope Walker), George Davis (A Magician), Henry Bergman (An Old Clown), Tiny Sandford (The Head Property Man), and John Rand (An Assistant Property Man) Directed by Charlie Chaplin (#353 - Monsieur Verdoux, #599 - The Kid, #600 - City Lights, #759 - The Gold Rush, #775 - Shoulder Arms, #820 - Modern Times, and #923 - The Pilgrim)

Review: 
Silent films are interesting to watch, particularly comedies. What does it mean to be funny? With the Tramp, there is something inherently entertaining about this silent clown, whether due to his physical appearance or the way he moves around, and this is especially prevalent in this film, in which he joins the circus. There are numerous entertaining sequences that inspire numerous laughs, from a chase sequence in the beginning to a tightrope sequence near the end with monkeys that is dare-defying along with amusing in its execution. The scene with the lion in the cage is also one that stands out for its thrills (with the sequence reportedly taking over 200 takes to get correctly), and it is one that certainly looks chilling even for the modern age. There is just a great semblance of imagination and entertainment that the movie inspires due to the circus setting, with a story that is simple but also fairly dynamic as well. The rest of the cast do a fine job, with Garcia doing good in playing opposite Chaplin as the ringmaster. The ending is a bit murky along with bittersweet, although at least the ending shot of him walking off in the distance is a memorable one. It likely isn't as great as The Gold Rush (1925), but it is at the very least one of Chaplin's best films.

There were numerous production delays and problems, such as a studio fire, the death of Chaplin's mother, Chaplin's divorce from his wife and claims of owed back taxes by the IRS that made filming stall for eight months. In any case, the film was released three months after The Jazz Singer. Both that film and Chaplin were recognized by the Academy during the 1st Academy Awards with Honorary Awards, with Chaplin receiving one for "for writing, acting, directing and producing The Circus". In the late 1960s, he did a new musical score for the movie, with a recording of him singing "Swing Little Girl" playing over the opening credits of the film, and it is certainly an interesting way to begin things. At 70 minutes, this is an entertaining film that proves to be highly satisfying with its slapstick comedy, all due to the talent of Chaplin that comes out greatly on screen. It's an agile kind of movie that has enough sight gags and snappy title cards to make this an easy one to recommend for anyone.

Overall, I give it 9 out of 10 stars.

The Pilgrim (1923).

Review #923: The Pilgrim.

Cast:
Charlie Chaplin (The Pilgrim), Edna Purviance (Miss Brown), Sydney Chaplin (Eloper / Train Conductor / Little Boy's Father), Mack Swain (Deacon Jones), Loyal Underwood (Small Deacon), Dean Riesner (Little Boy), Charles Reisner (Howard Huntington), and Tom Murray (Sheriff Bryan) Directed by Charlie Chaplin (#353 - Monsieur Verdoux, #599 - The Kid, #600 - City Lights, #759 - The Gold Rush, #775 - Shoulder Arms, and #820 - Modern Times)

Review:
At just under 47 minutes, this was Chaplin's second shortest feature length film (next to Shoulder Arms, which is just a few minutes less than this film), and this was also the last film he made for First National Pictures (which he had done since 1918). It definitely isn't one of his finest pieces of works, but The Pilgrim is at least a serviceable good time. Chaplin does a fine job as usual, playing a crafty convict who impersonates a preacher. One particular highlight is when he delivers an improvised sermon revolving around "David and Goliath", which goes as well as you'd expect. Chaplin can do any sort of stranger role (whether it be a stranger in military action or as The Tramp) with an easy kind of finesse. Purviance (in her last appearance with Chaplin in a feature film) is fairly decent, and the rest of the cast (some familiar to anyone who sees enough silent film) is pretty satisfactory in the roles that they play; Murray is part of a particular good part during the end of the film, with Chaplin "escaping" near the border. The movie goes at a fine pace, owing to its short length, but it is a decent enough movie to recommend because of the serviceable amount of gags it uses, with Chaplin being the key link. In a sea of great Chaplin films, this is a little gem that is fairly useful at being entertainment and sometimes that's all that matters.

Overall, I give it 8 out of 10 stars.

Tillie's Punctured Romance.

Review #880: Tillie's Punctured Romance.

Cast:
Marie Dressler (Tillie Banks, Country Girl), Mabel Normand (Mabel, Charlie's Girl Friend), Charles Chaplin (Charlie, City Slicker), Mack Swain (John Banks, Tillie's Father), Charles Bennett (Uncle Banks, Tillie's millionaire uncle), and Chester Conklin (Mr. Whoozis/Singing Waitor) Directed by Mack Sennett.

Review:
I figured that there really needed to be something unique to begin the month of December, and it happens to be my birthday today as well. As such, it only make sense to do the first feature-length comedy, released nearly 102 years ago. This is the earliest film covered on Movie Night (one year earlier than #763 - A Fool There Was), based off a play called Tillie's Nightmare. The film certainly seems a bit stagey at times, though that's not necessarily a bad thing. It was made by Keystone Studios, with Mack Sennett, a legendary comedic innovator (known as "The King of Comedy" during his lifetime) of the time in the form of slapstick, which is present heavily in this film. The movie runs from 74 to 82 minutes, depending on what version you are watching, though it runs smoothly enough regardless of the cut. Dressler manages to have a fair amount of screen presence, and she handles the slapstick quite well, while expressing herself quite a bit with a fine amount of grace. Chaplin (in a role not like The Tramp, for once) is also pretty good, in part because he handles the slapstick and action with enough cleverness and his own kind of charm. Normand is also pretty good, handling the situations that go on with a fine bit of presence while having some decent chemistry with Chaplin, with Swain and Bennett also doing fair jobs as well. The Keystone Cops make an appearance in the film as well, and they are pretty funny in the scenes they show up in. The slapstick presented in the movie manages to work most of the time, in part because of how quick it is, without any sort of cartoonishly overplayed comedic element. The trips and falls (and hits) are conveyed well, even in silent form. The story is pretty efficient at accompanying the comedy as well. The climax is one to behold, with lots of falls and a large set to open up many sort of gags, one involving a falling bed. On the whole, this is a neat movie that is more than just a historical footnote, with a good deal of comedy that works on numerous levels that make for good entertainment.

Happy Birthday to all the people on December 1, such as Bette Midler, Woody Allen, Sarah Silverman, and...me, too.

Overall, I give it 8 out of 10 stars.

Modern Times.

Review #820: Modern Times.

Cast
Charlie Chaplin (A Factory Worker), Paulette Goddard (Ellen Peterson, The Gamin), Henry Bergman (Café Proprietor), Tiny Sandford (Big Bill), Chester Conklin (A Mechanic), Al Ernest Garcia (President of the Electro Steel Corp), Stanley Blystone (Gamin's Father), and Richard Alexander (Prison Cellmate) Directed by Charlie Chaplin (#353 - Monsieur Verdoux, #599 - The Kid, #600 - City Lights, #759 - The Gold Rush, and #775 - Shoulder Arms)

Review
This was the first movie Chaplin did with dialogue and sound effects, though it is only used prominently for scenes at the factory, with his character remaining silent, save for one song (sung entirely in gibberish) at the end of the film, with inter titles used throughout the movie, at a time when sound films had become the norm. The Little Tramp (the character that Chaplin played in a good deal of his films, though it wasn't usually listed as such in the credits) had a charm that Chaplin felt would be lost if the character ever spoke on screen. From this point on, his films would be in sound, sans the Tramp. As for this movie, Chaplin once again excels at his own brand of slapstick comedy, with the drama aspects (with regards to the time this was made) being balanced well enough to make for a really influential movie that still fits even 80 years later. Chaplin always managed to make his character an easy one to root for, while still being easy to have a laugh for the things he gets into, such as when he tries to keep up with an assembly line, with hilarious results. Watching him on screen is always a treat, and the supporting cast is excellent, with Chaplin and Goddard having good chemistry together; Garcia and Bergman (two regulars of Chaplin films) are also pretty good highlights. The themes of the movie (namely the rise of the industrialization in a modern world) are weaved in excellently, managing to be told alongside the comedy without any troubles. I can't tell which Chaplin film (of the six featured on Movie Night) is the best at this moment, but Modern Times is certainly another Chaplin film that is perfectly handled with a dynamic that he did excellently. The movie ends with an uncertain future for the two characters, but there is at least a gleam of hope, even in what seems to be the most hopeless of times.

Overall, I give it 10 out of 10 stars.

Shoulder Arms.

Review #775: Shoulder Arms.

Cast
Charlie Chaplin (Charlie, the Doughboy), Edna Purviance (French girl), Sydney Chaplin (Charlie's Comrade/The Kaiser), Jack Wilson (German Crown Prince), Henry Bergman (Fat German Sergeant/Field Marshal von Hindenburg/Bartender), and Albert Austin (American Officer/Clean Shaven German Soldier/Bearded German Soldier) Directed by Charlie Chaplin.

Review
Well, it's Christmas. I hope everyone enjoyed themselves (I slept a good portion of the day, though at least I ate well and had some good gifts). As such, I thought it fitting to end the day with a Charlie Chaplin movie. Shoulder Arms is a silent comedy set during World War I (released a month before the Armistice was signed), with Chaplin playing a "Doughboy", which was actually a term for members of the Army and Marines, so this time around he isn't playing the Tramp. As it turned out, this was Chaplin's shortest feature (at 44 minutes) ever released, and it's not a bad film. There's a good amount of gags that you'd expect from a Chaplin film, hits and all. One of my favorites is him hiding in disguise as a tree behind enemy lines (such a clever disguise, eh?). Of course him throwing Limburger cheese into the enemy trench (after putting on a gas mask) right into the face of a soldier is pretty funny as well. The movie flows well, and its likable enough to be entertaining for anyone. If you're looking for some brilliant memorable gags that lasts less than an hour, I'd recommend this.

Overall, I give it 8 out of 10 stars.

The Gold Rush.

Review #759: The Gold Rush.

Cast
Charlie Chaplin (The Tramp - The Lone Prospector), Georgia Hale (Georgia), Mack Swain (Big Jim McKay), Tom Murray (Black Larsen), Malcolm Waite (Jack Cameron), and Henry Bergman (Hank Curtis) Directed by Charlie Chaplin (#353 - Monsieur Verdoux, #599 - The Kid and #600 - City Lights)

Review
On my own birthday, I decided to review a movie I knew I might enjoy. In a way, I had built this up by reviewing a Keaton film on Saturday and a Lloyd film on Monday, so I decided to revisit another silent film star, especially such a character like The Tramp. The highlight among all the good gags in the movie is him eating his shoe, mainly because of his reaction to eating what is essentially cooked rubber. I especially love when (BIG JIM) McKay goes crazy and starts imagining Chaplin as a chicken, costume and all...and then telling him that he imagined him as one. The movie is so enjoyable, because the Tramp is such an interesting character to watch walk around the cold along with with the other characters, such as Swain and Murray's characters. Chaplin directed, wrote, produced, and edited this movie, which is really impressive. The cast is interesting, especially Swain as (BIG JIM) McKay, who certain looks and fits the role of second fiddle to Chaplin. It's interesting how the Klondike sets were really just sets on the back lot and stages at Chaplin's studio, because they look really impressive in terms of how ram-shackled they are. The movie has good laughs, tinges of suspense, and a fine balance of drama that make for a wholly compelling movie. I highly recommend it to everyone.

Now if you excuse me, I'm going to have some cake.

Overall, I give it 10 out of 10 stars.

Movie Night: City Lights.

Review #600: City Lights.

Cast
Charlie Chaplin (The Tramp), Virginia Cherrill (A Blind Girl), Florence Lee (Her Grandmother), Harry Myers (An Eccentric Millionaire), Al Ernest Garcia (His Butler), and Hank Mann (A Prizefighter) Directed by Charlie Chaplin (#353 -Monsieur Verdoux and #599 - The Kid)

Review
To close out this road to 600 Reviews, is a familiar face. Charlie Chaplin is probably one of the greatest filmmakers of all time, not only did he star in his own films, he was also the director, the writer, the producer and even the composer of the music for his own films. He starred in numerous films all throughout the early 20th century, eventually venturing into feature length films, and this is one of them. This was made just as sound films became popular, but Chaplin didn't care, he wanted to keep the silent charm of the iconic character, the Tramp. The movie has a neat premise that is simple yet easily compelling. Chaplin is a good director, but he is an even better actor. Watching him interact with everyone is pure joy, especially his first scene with Myers, which is exceedingly hilarious. Chaplin and Cherrill work well together, interacting perfectly together, and it adds a new layer to an already fun movie. The slapstick is fun to watch and extremely hilarious along with being memorable, especially the boxing match, for all of its silliness and charm. The whole movie is charming and warm, and the cast is just right. The final scene with Chaplin and Cherrill is absolutely perfect and is probably one of the best end scenes in motion history. This is a remarkable movie that is absolutely recommended for everyone, young and old, for happy or for the sad. Thank you for all of your support over the past 3 and a half years, and I hope for another 600 reviews.

Overall, I give it 10 out of 10 stars.

Movie Night: The Kid.

Review #599: The Kid.

Cast
Charlie Chaplin (The Tramp), Jackie Coogan (The Kid), Edna Purviance (The Mother), Carl Miller (The Father), Tom Wilson (The Policeman), and Henry Bergman (Night Shelter Keeper / Professor Guido) Directed by Charlie Chaplin (#353 - Monsieur Verdoux)

Review
This is one of the oldest films reviewed on this show (With only #435 - Mickey and #261 - The Cabinet of Dr. Caligari being older), and it's only fitting that it's one with Charlie Chaplin. He starred in, edited, wrote and directed this movie (later composing the music in a re-release fifty years later at 82!), which shows his talent reaches just beyond being a Tramp. Chaplin especially shows his worth in this film, which is not only a funny movie but also a very good drama. The movie has a fine balance, but an even better cast. Chaplin and Coogan mesh perfect together, they work as a team in both being clever window helpers but also as father and son (of sorts). Coogan (known to many for being the original Uncle Fester) was only six, and he still shines in this film, he certainly shows much emotion is those beady eyes. The movie has many moments of hilarity, such as when the Tramp "fights" a bully, or (my favorite) when the Tramp enters Dreamland. The drama in the movie makes an already good film into a great one, especially when the two are reunited after a rooftop chase. The Tramp is an endearing figure who is always entertaining, along with being a lovable character. This is a silent film I wholly recommend to everyone looking for a good laugh...or a tear.

Overall, I give it 10 out of 10 stars.

Movie Night: Monsieur Verdoux.

Review #353: Monsieur Verdoux.

Cast
Charlie Chaplin (Henri Verdoux), Martha Raye (Annabella Bonheur), Isobel Elsom (Marie Grosnay), Margaret Hoffman (Lydia Floray), Marilyn Nash (The Girl), Barbara Slater (The Florist), Irving Bacon (Pierre Couvais), Edwin Mills (Jean Couvais), Virginia Brissac (Carlotta Couvais), Almira Sessions (Lena Couvais), Eula Morgan (Phoebe Couvais), and William Frawley (Jean La Salle) Directed by Charlie Chaplin.

Review
I thought it might've been a good idea to review a 40s film, especially for March 1st. And what do you know, it stars none other than Charlie Chaplin. Chaplin is a legend whose career spanned over four decades, directing, starring, writing, and composing his own films, and this film is one of them. A fun fact is that Orson Welles suggested the idea of the film. So how is the film is the actual question. And...it's real good. Its dark humor seems to hit a chord with me, and Chaplin manages get some laughs here and there. The writing works, it certainly feels fun and strangely it is kinda sad when it ends, because you kinda don't want it to end, it has a feel that grows on you after a while, where you keep watching for Chaplin and for the fun. That, and it is very well made.

Overall, I give it 9 out of 10 stars.