Charlie Chaplin is so much fun to watch that he’s actually fun to write about. I recently had a social networking request to hear a review of The Great Dictator, and since I have enjoyed writing the last three film reviews so much (all three about Chaplin movies) I must readily accept this request. The decision is not made lightly. After all, this movie is by far his most controversial, not just in regards to his content but also in regards to the large spectrum of approval that this movie has been subject to over the years. Continue reading →
In my review of Modern Times, I said that it was part of Charlie Chaplin’s “Big 3” along with The Gold Rush and City Lights. Since I have already reviewed The Gold Rush as well—and, in that review, admitted that I had great desire to tarry in Chaplin’s world for a little while—I would like to now provide a review of Chaplin’s best picture, City Lights. Continue reading →
I have decided that as long as I am here, I will stay here and enjoy it.
For me, after all, Charlie Chaplin is like Paris. He’s that thing you’ve always heard of and can recognize in a heartbeat even if you’ve never really seen it for yourself. He’s the one who’s always been there; not a single person alive today knows of a time when he wasn’t. He’s the icon that transcends just one country; he belongs a little bit to everyone. Amid a Hollywood full of Chicagos and Houstons, Chaplin is the La Ville-Lumière, the City of Love and Lights. It is only fitting, therefore, that he made such urban films. With that being said, his personal favorite film, and the one which is most universally praised, is The Gold Rush: his most rural. Continue reading →
My blog, at least on the surface, is directed by reason and ruled by rationale. While I sometimes stray from the formula (see my occasional dabblings in annual Academy Awards season, etc.), I attempt to methodically determine what is the next best thing to post in conjunction with what has already been posted and what I would like to post in the near- and distant-future. In this regard, the option for my next film review is obvious: I’ve done three Hitchcock films and three Coppola films (Vertigo, Notorious, Psycho, The Godfather, Apocalypse Now, and The Conversation) and only two silent films (The General and Battleship Potemkin). It is time, therefore, for a silent film. Continue reading →