Editing Charlie Chaplin (section)

==Filmmaking==

===Influences===
Chaplin believed his first influence to be his mother, who entertained him as a child by sitting at the window and mimicking passers-by: "it was through watching her that I learned not only how to express emotions with my hands and face, but also how to observe and study people."{{sfn|Robinson|p=18}} Chaplin's early years in music hall allowed him to see stage comedians at work; he also attended the Christmas pantomimes at [[Theatre Royal, Drury Lane|Drury Lane]], where he studied the art of clowning through performers like [[Dan Leno]].{{sfnm|1a1=Robinson|1pp=71–72|2a1=Chaplin|2pp=47–48|3a1=Weissman |3y=2009|3pp=82–83, 88}} Chaplin's years with the Fred Karno company had a formative effect on him as an actor and filmmaker. Simon Louvish writes that the company was his "training ground",{{sfn|Louvish|p=38}} and it was here that Chaplin learned to vary the pace of his comedy.{{sfn|Robinson|pp=86–87}} The concept of mixing pathos with slapstick was learnt from Karno,{{efn|[[Stan Laurel]], Chaplin's co-performer at the company, remembered that Karno's sketches regularly inserted "a bit of sentiment right in the middle of a funny music hall turn".{{sfn|Robinson|pp=86–87}}}} who also used elements of absurdity that became familiar in Chaplin's gags.{{sfn|Robinson|pp=86–87}}<ref>A round-table [http://www.nrk.no/skole/?page=search&mediaId=14092 Chaplin Interview] {{webarchive|url=https://web.archive.org/web/20160828075402/https://www.nrk.no/skole/?page=search&mediaId=14092 |date=28 August 2016 }} in 1952, first broadcast on BBC Radio on 15 October 1952. (In Norwegian)</ref> From the film industry, Chaplin drew upon the work of the French comedian [[Max Linder]], whose films he greatly admired.{{sfnm|1a1=Lynn|1pp=99–100|2a1=Brownlow|2p=22|3a1=Louvish|3p=122}} In developing the Tramp costume and persona, he was likely inspired by the American vaudeville scene, where tramp characters were common.{{sfn|Louvish|pp=48–49}}

===Method===
[[File:Chaplin Studios postcard.jpg|thumb|A 1922 image of [[Charlie Chaplin Studios]], where all of Chaplin's films between 1918 and 1952 were produced]]

Chaplin never spoke more than cursorily about his filmmaking methods, claiming such a thing would be tantamount to a magician spoiling his own illusion.{{sfn|Robinson|p=606}} Little was known about his working process throughout his lifetime,{{sfn|Brownlow|p=7}} but research from film historians{{snd}}particularly the findings of [[Kevin Brownlow]] and [[David Gill (film historian)|David Gill]] that were presented in the three-part documentary ''[[Unknown Chaplin]]'' (1983){{snd}}has since revealed his unique working method.{{sfnm|1a1=Louvish|1p=103|2a1=Robinson|2p=168}}

Until he began making spoken dialogue films with ''The Great Dictator'' (1940), Chaplin never shot from a completed script.{{sfn|Robinson|pp=173, 197, 310, 489}} Many of his early films began with only a vague premise, for example "Charlie enters a health spa" or "Charlie works in a pawn shop".{{sfn|Robinson|p=169}} He then had sets constructed and worked with his stock company to improvise gags and "business" using them, almost always working the ideas out on film.{{sfnm|1a1=Louvish|1p=103|2a1=Robinson|2p=168}} As ideas were accepted and discarded, a narrative structure would emerge, frequently requiring Chaplin to reshoot an already-completed scene that might have otherwise contradicted the story.{{sfnm|1a1=Louvish|1p=168|2a1=Robinson|2pp=166–170, 489–490|3a1=Brownlow|3p=187}} From ''A Woman of Paris'' (1923) onward Chaplin began the filming process with a prepared plot,{{sfn|Louvish|p=182}} but Robinson writes that every film up to ''Modern Times'' (1936) "went through many metamorphoses and permutations before the story took its final form".{{sfn|Robinson|p=460}}

Producing films in this manner meant Chaplin took longer to complete his pictures than almost any other filmmaker at the time.{{sfn|Louvish|p=228}} If he was out of ideas, he often took a break from the shoot, which could last for days, while keeping the studio ready for when inspiration returned.{{sfnm|1a1=Robinson|1pp=234–235|2a1=Cousins|2p=71}} Delaying the process further was Chaplin's rigorous perfectionism.{{sfnm|1a1=Robinson|1pp=172, 177, 235, 311, 381, 399|2a1=Brownlow|2pp=59, 75, 82, 92, 147}} According to his friend [[Ivor Montagu]], "nothing but perfection would be right" for the filmmaker.{{sfn|Brownlow|p=82}} Because he personally funded his films, Chaplin was at liberty to strive for this goal and shoot as many takes as he wished.{{sfnm|1a1=Robinson|1pp=235, 311, 223|2a1=Brownlow|2p=82}} The number was often excessive, for instance 53 takes for every finished take in ''The Kid'' (1921).{{sfnm|1a1=Robinson|1p=746|2a1=Maland|2y=1989|2p=359}} For ''The Immigrant'' (1917), a 20-minute short, Chaplin shot 40,000 feet of film{{snd}}enough for a feature-length.{{sfnm|1a1=Robinson|1p=201|2a1=Brownlow|2p=192}}
{{Rquote|left|text=No other filmmaker ever so completely dominated every aspect of the work, did every job. If he could have done so, Chaplin would have played every role and (as his son Sydney humorously but perceptively observed) sewn every costume.|author=Chaplin biographer [[David Robinson (film critic)|David Robinson]]{{sfn|Robinson|p=606}}}}

Describing his working method as "sheer perseverance to the point of madness",{{sfn|Louvish|p=225}} Chaplin would be completely consumed by the production of a picture.{{sfnm|1a1=Brownlow|1p=157|2a1=Robinson|2pp=121, 469}} Robinson writes that even in Chaplin's later years, his work continued "to take precedence over everything and everyone else".{{sfn|Robinson|p=600}} The combination of story improvisation and relentless perfectionism{{snd}}which resulted in days of effort and thousands of feet of film being wasted, all at enormous expense{{snd}}often proved taxing for Chaplin who, in frustration, would lash out at his actors and crew.{{sfnm|1a1=Robinson|1pp= 362, 371, 469, 613|2a1=Brownlow|2pp=56, 136|3a1=Schickel|3p=8}}

Chaplin exercised complete control over his pictures,{{sfn|Robinson|p=606}} to the extent that he would act out the other roles for his cast, expecting them to imitate him exactly.{{sfnm|1a1=Bloom|1p=101|2a1=Brownlow|2pp=59, 98, 138, 154|3a1=Robinson|3p=614}} He personally edited all of his films, trawling through the large amounts of footage to create the exact picture he wanted.{{sfn|Robinson|pp=140, 235–236}} As a result of his complete independence, he was identified by the film historian [[Andrew Sarris]] as one of the first [[Auteurism|auteur]] filmmakers.{{sfn|Maland|1989|p=353}} Chaplin did receive help from his long-time cinematographer [[Roland Totheroh]], brother Sydney Chaplin, and various [[assistant director]]s such as [[Harry Crocker]] and [[Charles Reisner]].<ref>{{cite web|url=http://chaplin.bfi.org.uk/programme/essays/collaborators.html |title=Chaplin's Writing and Directing Collaborators |publisher=British Film Institute |access-date=27 June 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120214092650/http://chaplin.bfi.org.uk/programme/essays/collaborators.html |archive-date=14 February 2012}}</ref>

===Style and themes===
[[File:The Kid scenes.ogv|thumb|upright=1.25|Collection of scenes from ''[[The Kid (1921 film)|The Kid]]'' (1921) that demonstrate Chaplin's use of slapstick, pathos, and social commentary]]
While Chaplin's comedic style is broadly defined as [[slapstick]],{{sfn|Robinson|p=212}} it is considered restrained and intelligent,{{sfn|Brownlow|p=30}} with the film historian Philip Kemp describing his work as a mix of "deft, balletic physical comedy and thoughtful, situation-based gags".{{sfn|Kemp|p=63}} Chaplin diverged from conventional slapstick by slowing the pace and exhausting each scene of its comic potential, with more focus on developing the viewer's relationship to the characters.{{sfn|Robinson|p=113}}{{sfn|Mast|pp=83–92}} Unlike conventional slapstick comedies, Robinson states that the comic moments in Chaplin's films centre on the Tramp's attitude to the things happening to him: the humour does not come from the Tramp bumping into a tree, but from his lifting his hat to the tree in apology.{{sfn|Robinson|p=113}} Dan Kamin writes that Chaplin's "quirky mannerisms" and "serious demeanour in the midst of slapstick action" are other key aspects of his comedy,{{sfn|Kamin|pp=6–7}} while the surreal transformation of objects and the employment of [[In-camera effect|in-camera]] trickery are also common features.{{sfnm|1a1=Mast|1pp=83–92|2a1=Kamin|2pp=33–34}} His signature style consisted of gestural idiosyncrasies like askew derby hat, drooping shoulders, deflated chest and dangling arms and tilted back pelvis to enrich the comic persona of his 'tramp' character. His shabby but neat clothing and incessant grooming behaviour along with his geometrical walk and movement gave his onscreen characters a puppet-like quality.<ref>{{cite book |last=Kamin |first=D |date=2008 |title=The Comedy of Charlie Chaplin: Artistry in Motion |url=https://books.google.com/books?id=BUA8lPNfL5wC |location=United States |publisher=[[Rowman & Littlefield|Scarecrow Press]] |page=25 |isbn=978-0810877818}}</ref>

Chaplin's silent films typically follow the Tramp's efforts to survive in a hostile world.{{sfn|Louvish|p=60}} The character lives in poverty and is frequently treated badly, but remains kind and upbeat;{{sfnm|1a1=Kemp|1p=63|2a1=Robinson|2pp=211, 352|3a1=Hansmeyer|3p=4}} defying his social position, he strives to be seen as a gentleman.{{sfn|Robinson|p=203}} As Chaplin said in 1925, "The whole point of the Little Fellow is that no matter how down on his ass he is, no matter how well the jackals succeed in tearing him apart, he's still a man of dignity."{{sfn|Weissman|2009|p=47}} The Tramp defies authority figures{{sfn|Dale|p=17}} and "gives as good as he gets",{{sfn|Weissman|2009|p=47}} leading Robinson and Louvish to see him as a representative for the underprivileged{{snd}}an "[[everyman]] turned heroic saviour".{{sfnm|1a1=Robinson|1pp=455, 485|2a1=Louvish|2p=138|2ps= (for quote).}} Hansmeyer notes that several of Chaplin's films end with "the homeless and lonely Tramp [walking] optimistically{{spaces}}... into the sunset{{spaces}}... to continue his journey."{{sfn|Hansmeyer|p=4}}
{{Rquote|left|text=It is paradoxical that tragedy stimulates the spirit of ridicule{{spaces}}... ridicule, I suppose, is an attitude of defiance; we must laugh in the face of our helplessness against the forces of nature{{snd}}or go insane.|author=Charlie Chaplin, explaining why his comedies often make fun of tragic circumstances{{sfn|Robinson|pp=334–335}}}}

The infusion of [[pathos]] is a well-known aspect of Chaplin's work,{{sfnm|1a1=Dale|1pp=9, 19, 20|2a1=Louvish|2p=203}} and Larcher notes his reputation for "[inducing] laughter and tears".{{sfn|Larcher|p=75}} Sentimentality in his films comes from a variety of sources, with Louvish pinpointing "personal failure, society's strictures, economic disaster, and the elements".{{sfn|Louvish|p=204}} Chaplin sometimes drew on tragic events when creating his films, as in the case of ''The Gold Rush'' (1925), which was inspired by the fate of the Donner Party.{{sfn|Robinson|pp=334–335}} Constance B. Kuriyama has identified serious underlying themes in the early comedies, such as greed (''The Gold Rush'') and loss (''The Kid'').{{sfn|Kuriyama|p=31}} Chaplin also touched on controversial issues: immigration (''The Immigrant'', 1917); illegitimacy (''The Kid'', 1921); and drug use (''Easy Street'', 1917).{{sfn|Mast|pp=83–92}} He often explored these topics ironically, making comedy out of suffering.{{sfn|Louvish|pp=137, 145}}

Social commentary was a feature of Chaplin's films from early in his career, as he portrayed the underdog in a sympathetic light and highlighted the difficulties of the poor.{{sfn|Robinson|p=599}} Later, as he developed a keen interest in economics and felt obliged to publicise his views,{{sfn|Robinson|p=456}} Chaplin began incorporating overtly political messages into his films.{{sfn|Maland|1989|p=159}} ''Modern Times'' (1936) depicted factory workers in dismal conditions, ''The Great Dictator'' (1940) parodied [[Adolf Hitler]] and [[Benito Mussolini]] and ended in a speech against nationalism, ''Monsieur Verdoux'' (1947) criticised war and capitalism, and ''A King in New York'' (1957) attacked [[McCarthyism]].{{sfn|Larcher|pp=62–89}}

Several of Chaplin's films incorporate autobiographical elements, and the psychologist [[Sigmund Freud]] believed that Chaplin "always plays only himself as he was in his dismal youth".{{sfn|Weissman|1999|pp=439–445}} ''The Kid'' is thought to reflect Chaplin's childhood trauma of being sent into an orphanage,{{sfn|Weissman|1999|pp=439–445}} the main characters in ''Limelight'' (1952) contain elements from the lives of his parents,{{sfn|Bloom|p=107}} and ''A King in New York'' references Chaplin's experiences of being shunned by the United States.{{sfn|Robinson|pp=588–589}} Many of his sets, especially in street scenes, bear a strong similarity to Kennington, where he grew up. [[Stephen M. Weissman]] has argued that Chaplin's problematic relationship with his mentally ill mother was often reflected in his female characters and the Tramp's desire to save them.{{sfn|Weissman|1999|pp=439–445}}

Regarding the structure of Chaplin's films, the scholar [[Gerald Mast]] sees them as consisting of sketches tied together by the same theme and setting, rather than having a tightly unified storyline.{{sfn|Mast|pp=123–128}} Visually, his films are simple and economic,{{sfnm|1a1=Louvish|1p=298|2a1=Robinson|2p=592}} with scenes portrayed as if set on a stage.{{sfnm|1a1=Epstein|1pp=84–85|2a1=Mast|2pp=83–92|3a1=Louvish|3p=185}} His approach to filming was described by the art director [[Eugène Lourié]]: "Chaplin did not think in 'artistic' images when he was shooting. He believed that action is the main thing. The camera is there to photograph the actors".{{sfn|Robinson|p=565}} In his autobiography, Chaplin wrote, "Simplicity is best{{spaces}}... pompous effects slow up action, are boring and unpleasant{{spaces}}... The camera should not intrude."{{sfn|Chaplin|p=250}} This approach has prompted criticism, since the 1940s, for being "old fashioned",{{sfnm|1a1=Brownlow|1p=91|2a1=Louvish|2p=298|3a1=Kamin|3p=35}} while the film scholar Donald McCaffrey sees it as an indication that Chaplin never completely understood film as a medium.{{sfn|McCaffrey|pp=82–95}} Kamin, however, comments that Chaplin's comedic talent would not be enough to remain funny on screen if he did not have an "ability to conceive and direct scenes specifically for the film medium".{{sfn|Kamin|p=29}}

===Composing===
[[File:Charlie Chaplin playing the cello 1915.jpg|thumb|upright|Chaplin playing the cello in 1915]]

Chaplin developed a passion for music as a child and taught himself to play the piano, violin, and cello.{{sfnm|1a1=Robinson|1p=411|2a1=Louvish|2pp=17–18}} He considered the musical accompaniment of a film to be important,{{sfn|Robinson|pp=382}} and from ''A Woman of Paris'' onwards he took an increasing interest in this area.{{sfn|Robinson|p=411}} With the advent of sound technology, Chaplin began using a synchronised orchestral soundtrack{{snd}}composed by himself{{snd}}for ''City Lights'' (1931). He thereafter composed the scores for all of his films, and from the late 1950s to his death, he scored all of his silent features and some of his short films.{{sfn|Vance|2000|p=xiii}}

As Chaplin was not a trained musician, he could not read sheet music and needed the help of professional composers, such as [[David Raksin]], [[Raymond Rasch]] and Eric James, when creating his scores. Musical directors were employed to oversee the recording process, such as [[Alfred Newman (composer)|Alfred Newman]] for ''City Lights''.{{sfn|Slowik|p=133}} Although some critics have claimed that credit for his film music should be given to the composers who worked with him, Raksin{{snd}}who worked with Chaplin on ''Modern Times''{{snd}}stressed Chaplin's creative position and active participation in the composing process.{{sfn|Raksin and Berg|pp=47–50}} This process, which could take months, would start with Chaplin describing to the composer(s) exactly what he wanted and singing or playing tunes he had improvised on the piano.{{sfn|Raksin and Berg|pp=47–50}} These tunes were then developed further in a close collaboration among the composer(s) and Chaplin.{{sfn|Raksin and Berg|pp=47–50}} According to film historian [[Jeffrey Vance]], "although he relied upon associates to arrange varied and complex instrumentation, the musical imperative is his, and not a note in a Chaplin musical score was placed there without his assent."<ref name="VarietyVance">Vance, Jeffrey (4 August 2003). "Chaplin the Composer: An Excerpt from Chaplin: Genius of the Cinema". ''Variety'' Special Advertising Supplement, pp. 20–21.</ref>

Chaplin's compositions produced three popular songs. "[[Smile (Charlie Chaplin song)|Smile]]", composed originally for ''Modern Times'' (1936) and later set to lyrics by [[John Turner (lyricist)|John Turner]] and [[Geoffrey Parsons (lyricist)|Geoffrey Parsons]], was a hit for [[Nat King Cole]] in 1954.<ref name="VarietyVance"/> For ''Limelight'', Chaplin composed "Terry's Theme", which was popularised by [[Jimmy Young (broadcaster)|Jimmy Young]] as "[[Eternally (Charlie Chaplin song)|Eternally]]" (1952).{{sfn|Kamin|p=198}} Finally, "[[This Is My Song (1967 song)|This Is My Song]]", performed by [[Petula Clark]] for ''A Countess from Hong Kong'' (1967), reached number one on the UK and other European charts.<ref>Hennessy, Mike (22 April 1967). "[https://worldradiohistory.com/Archive-All-Music/Billboard/60s/1967/Billboard%201967-04-22.pdf#page=56 Chaplin's 'Song' Catches Fire in Europe]". ''Billboard'', p. 60.</ref> Chaplin also received his only competitive Oscar for his composition work, as the ''Limelight'' theme won an [[Academy Award for Best Original Score]] in 1973 following the film's re-release.<ref name="VarietyVance"/>{{efn|Although the film had originally been released in 1952, it did not play for one week in Los Angeles because of its boycott, and thus did not meet the criterion for nomination until it was re-released in 1972.<ref>{{cite news|last=Weston |first=Jay |title=Charlie Chaplin's Limelight at the Academy After 60 Years |url=https://www.huffingtonpost.com/jay-weston/charlie-chaplin-limelight_b_1938236.html |work=HuffPost |date=10 April 2012 |access-date=2 February 2013 |url-status=live |archive-url=https://web.archive.org/web/20130513093513/http://www.huffingtonpost.com/jay-weston/charlie-chaplin-limelight_b_1938236.html |archive-date=13 May 2013 }}</ref>}}