Day 8 – Thoughts on “Chaplin” the movie, starring Robert Downey, Jr.

<Takes a deep breath and cracks knuckles>

This post on the Chaplin movie is very involved. So let’s get movin’!

The Trailer

My experience watching it

The first three times I saw it, it was in the movie theater. A United Artists theater (not intentionally, I swear!) the first time. I don’t know how many were hard core fans like me who had watched all the movies, read books and articles, watched documentaries. I soon discovered that there certainly a number of them who had never seen Chaplin without his famous mustache. The big clue was when I heard audible gasps when Chaplin peeled it off as he is taking his makeup off in the opening.

I went in with a rather high expectation, having seen and loved Attenborough’s Gandhi. While I did not enjoy it as much as Gandhi (then again, I don’t know near as much), I really liked it, and still do.

Movie vs. What really happened

There are a few things that spring to mind such as the creation and first film appearance of the Little Tramp. The examples I give below are, by far, not all of them

The Flickers

What really happened – According to “My Autobiography”, Chaplin was in Philadelphia. Although he was with the Karno troupe’s manager, Alf Reeves, had the telegram and Chaplin read it.

Rollie Totheroh

Movie – Chaplin first meets Rollie with Mack Sennett where they are shooting a movie. And under Mack’s directions, cuts Charlie out of his first film appearance. He then goes with Chaplin from the Keystone company onwards.

What Really Happened – I have read conflicting reports. Some say Rollie starting working with Chaplin in 1915 with Essanay. Others say Rollie didn’t work with Chaplin until Chaplin hired him in 1916 during Chaplin’s Mutual period. But it wasn’t with Sennett, that’s for sure. But, he did play a big part in how Chaplin’s films were shot, up to 1952 with Limelight.

Creating the Tramp

Movie – Chaplin, in a rush to put together a costume for Mack Sennett, grabs different pieces of clothing in the wardrobe department and puts together something. Then goes out on a wedding party set and the first appearance of The Little Tramp character is born.

What Really Happened – This is a good example of “It didn’t happen this way, but it got the spirit of it.” No one today knows 100% what film he first performed as the tramp. It is possible that the first movie that was filmed with Chaplin wearing his outfit was Mabel’s Strange Predicament. However, the first time the movie-going public sees the tramp is Kid Auto Races at Venice. It was common for Sennett to not show films in the same order that they were shot.

However, the set that was used for “Chaplin” is very close to the set Chaplin used for The Adventurer for the Mutual company in 1917. Not only the set but also Charlie doing the lampshade gag to hide from his pursuers is also from The Adventurer.

Easter Eggs!

There are several in this film. Some are more “in your face” than others.

Harry Lauder.

When Charlie was growing up, and as a young performer, a popular entertainer/singer/comedian was a Scot name Harry Lauder. Sure, in the movie there could have been just a random guy dressed up in a traditional Scottish outfit with bagpipes who was performing there, but I doubt it.

In the video below, Harry comes to visit Chaplin in 1918 at Chaplin’s studio

Stan Laurel

46 Takes.

During the scene where Charlie is directing Edna Purviance for The Immigrant, Chaplin asks her to do another take, and reminds her she is supposed to be starving. She protests “It’s hard to be hungry after 46 takes!” And then a moment later when he invites her out for chili con carne (which has beans in it), she responds “I’ll kill you, Charlie.” Then Charlie shouts out to the crew “MORE BEANS!”, Edna replies by throwing something (bread?) at him.

• 

I remember watching this in the theater and I’m thinking “Is that a reference to Unknown Chaplin?”. Unknown Chaplin is a 3 part documentary about how Chaplin made several of his films using filmed rehearsals (I will talk much more about this later on in the 30 day challenge). In the first part when talking about The Immigrant, there is a shot showing the slateboard showing what take they are on before each shooting. And right before Edna’s character is introduced, is the slateboard with a chalked written 46.

Also in this scene…

Another Easter Egg! The song that is played right before Edna protest about the beans is an instrumental version of a anti-Chaplin song called “When the Moon Shines Bright on Charlie Chaplin” which protested Chaplin’s seemingly unwillingness to fight The Great War. In reality, he failed the physical requirements. And people in the military told him that he shouldn’t join anyway because he was important for morale.

David Robinson cameo.

The movie is based on two books: Chaplin’s My Autobiography, and Chaplin: His Life and Art by David Robinson. And it took many years before I knew Mr. Robinson had a very brief appearance. Thanks to the cool feature that Amazon Prime Video and Google Play has where they will identify who is on the screen. During the party at Doug Fairbanks’ place, you can see him as Doug’s manservant. Mr. Robinson is the gentleman on the left, arranging Doug Fairbanks’ (played wonderfully by Kevin Kline) outfit.

Blink and you’ll miss him.

Toraichi Kono

While I was happy to see him appear, he should have been in it more.

Kono was a Japanese immigrant who found himself hired by Chaplin. He became Chaplin’s chauffeur, valet, bodyguard. Pretty much if you wanted to get to Chaplin, you went through Kono.

He was mostly behind the scenes though. He did briefly appear in Chaplin’s 1917’s The Adventurer as Edna’s character’s chauffeur who comes to the rescue. However Kono’s wife opposed to him being in movies believing he was dishonoring his family. So he never appeared in another one. I have often wondered how minorities in film, especially Asians, would have be seen if he was in more films. (I also talk a little about Kono here in my Doctor Who meets Charlie Chaplin comic book review)

Back to Chaplin, they should have replaced that Frank guy (who I am 99.9% sure is another fictional character) with Kono, and that would have been much better.

The Totherohs

A couple cool “blink and you’ll miss it” fellows were David and Jack Totheroh, grandson and son of Rollie Totheroh, Chaplin’s main cameraman from 1917 until 1952. David is (I think) at the photography camera on the left, and Jack is on the movie camera on the right.

The drawbacks

There are a few faults with the film, and a good number of them I do not blame Attenborough for. He had an uphill battle to get this film greenlit, fight to keep Downey (the studio wanted someone with a bigger name), and then somehow shoot it.

Sydney. The biggest one that bothered me is the depiction of Charlie’s older brother, Sydney. Syd played a massive role in Charlie’s life and (from the way Charlie talks about him in Charlie’s autobiography) wouldn’t have protested near as often as what is depicted in the movie. Those two had a close bond and Syd did a great job being his little brother’s manager. He was a very talented comedian in his own right, playing a vital role in getting Fred Karno to hire Charlie.

Also costar a few times, such as in A Dog’s Life (see below). I adore this scene!

His portrayal was good, up until he protests “The Immigrant” where Charlie kicking an immigration officer in the butt. From then on, I feel he symbolically represents the growing critical pressure Charlie really was beginning to get around that time, and that would continue to grow and lead to his exile. They could have created another character/s who did the protesting.

The overall accuracy

Again, it goes back to most of it not happening the way it was shown. And not putting enough emphasis on certain key moments, like the forming of United Artists. That was mentioned, but that’s it. I don’t blame Attenborough at all, he was constantly told to cut things out due to time, money, and who knows what else was thrown at him. As he says in one interview years later, he wishes he could redo it. Unfortunately, that never happened.

The Music

I bought the soundtrack before seeing the film. When I first picked it up in the store, and looked over the track listing. I saw not only a couple version of Smile, but then I saw track 7, “Salt Lake City Episode” and it stated it was a re-recording of a song from City Lights (original 1931 and another re-recording conducted by the wonderful Carl Davis and played by the City Lights Orchestra). My reflex response was “Gimme!” and I went right up to the register and bought it. Because this was before the internet boom. No MP3s or YouTube to download it. And being able to listen to Chaplin’s music in my boombox and my car was just not able to be done before.

What I love from the soundtrack

John Barry composed the score, a couple years after doing the soundtrack for Dances with Wolves. And I still love it to bits! Track 4, “To California/The Cutting Room” is my favorite, When I visited California back in April of 1993, I listened to this song while riding along the road along the pacific coast that overlooked the ocean. Gah! Both were beautiful! Recommended if you get the chance. Also the following track, “Creating the Tramp/Wedding Chase” is fun. Track 7 “Salt Lake City Episode” I already mentioned above.

You got to have “Smile” in there, that’s track 13 (what I like to call the ballroom dancing version because that’s what I picture when listening to it). And there’s also a version of Downey himself singing it at track 16. At first I did not like this version at all. It sounded way to modern and just… ick. But it didn’t take long for me to warm up to it, and soon love it. And the Main Theme is something I hope to play on keyboard one day. It’s slow paced, so somewhat manageable

A few years later, 2004, Downey made his own album. And on there, he sang Smile again. A slow jazz version.

The rest of the cast

As I said, Downey is just drop-jaw good. There are a few others that I wanted to talk about.

Hannah Chaplin

Played by Geraldine Chaplin. This was a big one. To have Charlie’s oldest daughter play her own grandmother, Hannah Chaplin, was wonderful casting. Geraldine’s first film appearance was in her father’s movie Limelight. And it was lovely to see her here, playing her grandmother. Interestingly, she never knew Hannah. Hannah had passed away in 1928. Geraldine was born in 1944. She just knew her from her father’s stories about her.

Hetty Kelly & Oona Chaplin

An interesting casting choice was having Moira Kelly play both of Charlie major love interests: his first love Hetty Kelly and his fourth (and last) wife Oona. I liked it, though it seems to divide some fans.

Douglas Fairbanks and Mary Pickford

Wonderfully played by Kevin Kline. I absolutely loved him in this! Stole every scene he was in. In real life as in the movie, Doug was Charlie’s best friend. Since both of them were huge silent film stars, neither of them felt like the other was trying to steal the other’s fame. They could have made a whole film of the adventures of these two and I would have been happy :).
As for Mary Pickford, I don’t know why it showed Charlie and Mary not getting along. According to his autobiography, they were great friends, and he admired her business sense when it came to running United Artists.

Mack Sennett

Canadian born Mack Sennett, the person who gave Chaplin his start in movies and almost fired him right away. Played wonderfully by Canadian born Dan Ackroyd. On the picky side, they should have greyed Ackroyd’s hair some, but other than that. I really liked him.

And the Mack Sennett Studios was good to see! And hearing the rooster crow follows Chaplin’s own description of the studios in his autobiography that the studio seemed like it was part farmhouse barn.

Where are the freakin’ Oscars?!?

Ok, I might be over dramatic. But serious, Downey deserved the Oscar. John Barry also deserved it for his magnificent score.

The film also got nominated for a few Golden Globes, Downey for Best Actor, Geraldine for Best Supporting Actress

But speaking of Motion Picture Academy, I’ll share a clip from the 1972 Oscar that parts were used towards the end of the movie:

Behind the scenes and film locations

And last year on the Film Stories podcast episode “Thor The Dark World (2013) and Chaplin (1992)” (Chaplin talk starts 20:14 into the episode. First half of the show is about the second Thor movie) where Simon Brew talks about th whys and hows “Chaplin” came about. Great show, and a I learned a few things. Like how badly Steven Spielberg wanted Attenborough to be in Jurassic Park, but Attenborough was making Chaplin, so Spielberg delayed JP. Among other facts. Worth a listen!

Locations.

Some locations and information about several locations and their history can be found here

Favorite Quotes/Scenes

Suit of armor

Sennett (looking impatiently at his watch): Jesus!
Rollie: You told him to get changed, remember?
Sennett: What’s he putting on, a suit of armor?

Why I like it: This is great because the tramp outfit/character really protected Charlie from being fired, which he really thought was going to happen. But he became a huge success. But in the last few years this line has taken on a new meaning… Iron Man.

And the scene with Charlie first creating the Tramp and first scene. As I mentioned in an above segment, not accurate but a lot of fun to watch.

Family Feud

Sydney: Who the hell is gonna pay to see you when everybody else has gone to sound?
Charlie: Who? I’ll tell you who. The Japanese for one thing, and the Russkies for another. And anyone else who doesn’t happen to speak English. Or have you forgotten about the other 9/10 of the globe?

Why I like it: Outside of my feelings about Syd being portrayed this way, this is a good example of Charlie’s uhhh….stubbornness about not wanting to switch to sound, even after everyone else had done so. He wanted to tell his story his way and nobody was going to talk him out of it (haha, sorry about the pun.) People did think he was crazy for making silent picture several years after the industry started sound. And he knew that it would be easiest for people around the world to enjoy it

The Nazi

At a party, Chaplin and Doug Fairbanks encounters a Nazi diplomat. After refusing to shake the Nazi’s hand, the Nazi asks: “What have you against us, Mr. Chaplin?”

Charlie: “What have got against everybody else?”

A few moments later as Chaplin, Paulette, and Doug leave the party:

Doug (sarcastically): “Lovely little international incident you caused in there”

(Moment later)

Doug: “It’s funny, you know. You look a lot like him. Adolf, I mean. You know, with your mustache on. I think he stole your act!”

Why I like it. Yeah, Chaplin really did NOT like the Nazis. At all. And although I really doubt this event actually happened, I can totally see Charlie reacting this way if put in that situation. If you haven’t seen it yet, I highly recommend The Great Dictator.

Exile

Oona: (holding the telegram) They’ve thrown you out.

Charlie: Thrown me out? Thrown me out of what?

Oona: Of America

He looks down, then back to the New York City skyline slowly disappearing, then back at her.

Charlie: I… I can’t go back?

Why I like this

It’s one of the crucial moments of his life, and what makes him understandably bitter with the United States, hence A King in New York

Cheered People Up

Charlie (talking to George): “End of the day, you’re not judged by what you didn’t do, but by what you did. Didn’t change things… I just just…. he just… cheered people up. Not bad, that.”

Ten Years Later

Oona: That was California calling. You really have to give them an answer.

Charlie (frustrated): No, They took 20 years to make up their minds. They can take another afternoon.

Oona: Enough. Enough! (gives him a chocolate)

Charlie (calms down, and then looking concerned at her): What if they still hate me?

Why I like This

In real life, Chaplin went back and forth about whether or not he should return to the States, and if Hollywood liked him again. But Oona talked him into going back. And I’m so glad she did!

Also I really liked the transition from 1963 with George leaving Charlie asleep on the porch. Then blurry screen. Then it’s 1972. And that sweet music that gets me choked up every freaking time.

Hmmm….

And you know what I just discovered while writing this? Blooper about it being “Ten Years Later”. Because Charlie made his triumphant return to Los Angeles in 1972. So it’s actually 9 years later. Haha! Always noticing something with this film!

A couple lessons in slang

Cockney rhyming

Another thing that the movie taught me was the use of cockney slang.

During the scene where Charlie and Hetty had been “politely” thrown out of a posh restaurant due to being in the theater (actors were looked down upon in society for years until the advent of… wait for it…. the movies), Charlie starts to imagine the future when he would be wealthy and they could go into whatever place they wanted.

Charlie: You wait. Someday they’ll beg. Yeah. We’ll walk in there, you and me, you in a fur, dripping jewels. Me in me own whistle.

Hetty: Whistle?

Charlie: Yeah, whistle and flute. Suit.

It took me a few months to get this. Around this time, my brother had a French tutor who was British. When I took him over for his lessons, she and I somehow got in a conversation about the rhyming and she taught me about the basics of Cockney rhyming. And then this scene made much more sense!

Any Old Iron

Also in the song that Syd and Charlie sing a couple different times has a lot of slang and I still don’t totally understand it. The song was a popular Music Hall song called Any Old Iron. It’s full of cockney slang

Below is a fun little video put out by the Anglophenia YouTube channel a few years ago that helps explain some of the words:

Nice little flivver, Chas

One word I never was able to figure out until closed captioning was during the scene where Charlie meets up with Syd and his wife at the train station. Leaving the station, Syd says “Nice little flivver, Chas. When do I get to meet Mr. Sennett?”

According to Wikipedia: flivver – “early twentieth-century American slang for an automobile”. And according to Google, it’s also slang for “a cheap car or aircraft, especially one in bad condition”. So Syd could have easily been poking fun at Charlie’s fancy new car by calling it a piece of junk, LOL

If you want to learn more: A cool website to lookup slang of the past is Alpha Dictionary.

A few more thoughts

This was a very ambitious movie. And I never gave much grief about Attenborough because he really tried. And I think it mostly paid off. It is fun to watch and, as I said just a few lines above, there is always something I catch that I hadn’t before. And I have heard from a number of Chaplin fans who became a fan from watching this movie.

Chaplin’s life, because so much happened in almost his 90 years on this planet, it needed more screen time. Like a mini series. Nine parts, with each part covering about a decade of his life. Maybe 10 parts. Something like that. Because there were things I wish were covered. Like a bit more about his music (and him winning an Oscar in 1973 for Best Original Music Score for Limelight, which he made in 1952!), more than just a passing mention of the formation of United Artists, and that mystery around the death of Thomas Ince (though that was interestingly covered in The Cat’s Meow), his first Oscar at the first Academy Awards in 1928, his second divorce (only briefly mentioned, but wow that was a burden), his travels around the world that led to him making Modern Times, and somehow something was missing with the making of The Great Dictator. And other things. And having more accuracy with what was shown.

A Few More Pictures

Something New

During the time I wrote this, the Niles Essanay Silent Film Museum share several videos from their Chaplin Days event from 2017. It contains a very interesting panel before and after a screening of the movie. The panel consisted of Sam Gill, Dan Kamin (mime expert who taught Downey), Marc Wanamaker (worked on the research for the film), and David Totheroh (Rollie’s grandson)

Introduction: Part 1 and Part 2

Post screening

• Academy Awards and Locations – Part 1
• Richard Attenborough’s Regrets – Part 2
• Cinematographer Sven Nyquist – Part 3

The Ending

And that’s pretty much it. I know that as soon as I publish this, I’ll slap myself on the forehead and say “I forgot to say X! How could I possibly have forgotten X?”

As for the ending, both the Oscars using the actual clips from his films (come on Academy! Release the *whole* presentation!) and the title cards about what happened to the major players were nice. And that some of the very last words spoken were by Daniel “sounds like a spice” Taradash’s very poetic speech during the Oscar presentation:

“A few years ago, Mr. Chaplin said ‘My only enemy is Time’. We respectfully disagree. For wherever and whenever there is communication, a screen and an audience, whether here on Earth and now, or in some unfathomable future on some far away star, Time is Charlie Chaplin’s dear and eternal friend.”

Posted in 20th century film, Charlie Chaplin, classic comedy, film soundtracks, History, movies, Music, Nostalgia, Silent movies, Soundtracks Tagged with: biography, biopic, Chaplin, Chaplin movie, Charlie Chaplin, classic hollywood, Doug Fairbanks, Hollywood, Hollywoodland, lost love, movies, Oona Chaplin, Richard Attenborough, Robert Downey Jr, silent era, silent film, silent movies