CHAPLIN (1992)
Spectacularly entertaining from start to finish, Chaplin was the role of a lifetime for the brilliantly talented Robert Downey Jr. in pefect harmony with the splay of Richard Attenborough's grandiose direction, supported by an ememble cast that shot for the stars and hit their marks, a stunning musical score by John Barry, all guided by the expert hand of genius Sven Nykvist's Cinematography. On a personal note, I knew Sven well; I worked with him soon after he shot Chaplin, and loved him dearly.
The film was adapted by William Boyd, Bryan Forbes and William Goldman from the books My Autobiography by Chaplin and Chaplin: His Life and Art by film critic David Robinson.
A friend and I were recently talking about how film biopics often veer from the absolute truth of the main subject's life. I'm not sure why this is. If you can overlook that in this lengthy film, (that does not seem too long for the story it tells), then it's a captivating ride. RDJ adopted the mannerisms of Chaplin and his Tramp; RDJ's face is not only stunningly beautiful in this picture, (except for the rubbery old age face piece), but perfectly expressive. His acting seemed unselfconscious and effortless and it was easy to be spellbound with his character in a character.
The shining cast includes: Paul Rhys (as brother, Sid Chaplin); Moria Kelly (as Hetty Kelly and Oona O'Neil Chaplin). Kevin Kline is delightful as Douglas Fairbanks Jr,; the friendship chemistry between his character and RDJ's Charlie feels real and Klein is always a treat to watch. Geraldine Chaplin uses such skill to portray her own grandmother, Hannah Chaplin. Dan Aykroyd plays silent comedy filmmaker Mack Sennett in his wonderfully unique Aykroyd way. Anthony Hopkins has a small role as a book editor, there to provide exposition and carry the lengthy movie along. Marisa Tomei, Penelope Anne Miller, Milla Jovovich, Nancy Travis, and Diane Lane all play women in Charlie's life -- each actress plays her part to the hilt; Marita Patillo as Mary Pickford, John Thaw, James Woods, David Duchovny, and more grace this film.
In sweeping fashion the film covers: Charlie's difficult childhood of poverty in the slums of East London, abandonment, and maternal insanity; his protectiveness of his brother Sid's Jewish heritage, and their multi-dimensional personal and business relationship; Charlie's move to America and story of becoming head of his own studios making eighty-one movies in which he threw every part of himself into as writer, actor, director, even creating his own scores. As mentioned his friendship with action star Doug Fairbanks is featured along with a bit about United Artists. Charlie's personal life is presented in an episodic fashion woven through the film that might have felt annoying except for the great acting chops of each actress and of Downey as well.
Early on, we see Chaplin at a dinner with friends and J. Edgar Hoover, who robustly objects to Charlie using his films to make political statements, which Hoover deems are not good for the country; Charlie rancourously disagrees with him. Moving forward we see Hoover obsessed with finding a way to stop Chaplin, culminating in Charlie being blacklisted during the McCarthy era Red Scare post World War II. While on vacation out of the country, Charlie gets word he has been exiled from the U.S., and has to leave behind the studio empire he built there.
If you want to see a documentary about Charlie Chaplin, this is not it; if you like a well made glossy Hollywood movie biopic from time to time, this might just make you "Smile." I feel inspired now to revisit Charlie Chaplin's most well known films and learn more about him.
Spectacularly entertaining from start to finish, Chaplin was the role of a lifetime for the brilliantly talented Robert Downey Jr. in pefect harmony with the splay of Richard Attenborough's grandiose direction, supported by an ememble cast that shot for the stars and hit their marks, a stunning musical score by John Barry, all guided by the expert hand of genius Sven Nykvist's Cinematography. On a personal note, I knew Sven well; I worked with him soon after he shot Chaplin, and loved him dearly.
The film was adapted by William Boyd, Bryan Forbes and William Goldman from the books My Autobiography by Chaplin and Chaplin: His Life and Art by film critic David Robinson.
A friend and I were recently talking about how film biopics often veer from the absolute truth of the main subject's life. I'm not sure why this is. If you can overlook that in this lengthy film, (that does not seem too long for the story it tells), then it's a captivating ride. RDJ adopted the mannerisms of Chaplin and his Tramp; RDJ's face is not only stunningly beautiful in this picture, (except for the rubbery old age face piece), but perfectly expressive. His acting seemed unselfconscious and effortless and it was easy to be spellbound with his character in a character.
The shining cast includes: Paul Rhys (as brother, Sid Chaplin); Moria Kelly (as Hetty Kelly and Oona O'Neil Chaplin). Kevin Kline is delightful as Douglas Fairbanks Jr,; the friendship chemistry between his character and RDJ's Charlie feels real and Klein is always a treat to watch. Geraldine Chaplin uses such skill to portray her own grandmother, Hannah Chaplin. Dan Aykroyd plays silent comedy filmmaker Mack Sennett in his wonderfully unique Aykroyd way. Anthony Hopkins has a small role as a book editor, there to provide exposition and carry the lengthy movie along. Marisa Tomei, Penelope Anne Miller, Milla Jovovich, Nancy Travis, and Diane Lane all play women in Charlie's life -- each actress plays her part to the hilt; Marita Patillo as Mary Pickford, John Thaw, James Woods, David Duchovny, and more grace this film.
In sweeping fashion the film covers: Charlie's difficult childhood of poverty in the slums of East London, abandonment, and maternal insanity; his protectiveness of his brother Sid's Jewish heritage, and their multi-dimensional personal and business relationship; Charlie's move to America and story of becoming head of his own studios making eighty-one movies in which he threw every part of himself into as writer, actor, director, even creating his own scores. As mentioned his friendship with action star Doug Fairbanks is featured along with a bit about United Artists. Charlie's personal life is presented in an episodic fashion woven through the film that might have felt annoying except for the great acting chops of each actress and of Downey as well.
Early on, we see Chaplin at a dinner with friends and J. Edgar Hoover, who robustly objects to Charlie using his films to make political statements, which Hoover deems are not good for the country; Charlie rancourously disagrees with him. Moving forward we see Hoover obsessed with finding a way to stop Chaplin, culminating in Charlie being blacklisted during the McCarthy era Red Scare post World War II. While on vacation out of the country, Charlie gets word he has been exiled from the U.S., and has to leave behind the studio empire he built there.
If you want to see a documentary about Charlie Chaplin, this is not it; if you like a well made glossy Hollywood movie biopic from time to time, this might just make you "Smile." I feel inspired now to revisit Charlie Chaplin's most well known films and learn more about him.