Charlie Chaplin Research

The Genius of Charlie Chaplin

-Life, work, motivation, and style

Chaplin was a world-renowned actor, director and filmmaker who revolutionised the world of cinema through his exemplary talent at merging the everyday struggles and tragedy into his famously comical 'tramp' persona on-screen. Outfitted in a deliberately small coat to appear disarranged against his large, wide-legged, patchy trousers, finished with an iconic toothbrush moustache, floppy shoes, a battered derby, and cane to parody a gentleman's attire, The Tramp was shunned by polite society and misfortunate in common goals such as love, yet comically lucky in his motivation towards success. Chaplin stated that this character was: "from somewhere deep within my father, it was really my father's alter ego, the little boy who never grew up: ragged, cold, hungry, but still thumbling his nose at the world...quick to do things for his own protection and he is clever in dodging brickbats and rebuffs of others and sliding adverse conditions off on some other fellow. He does not care who falls so long as he gets out safe and sound".

 Audiences loved his cheekiness, his absence of self-importance, and his unexpected boldness that goes in hand with his resilience - perhaps formed due to the rough nature of Chaplin's upbringing and fending of his own basic needs. Chaplin was a master of comedy and seamlessly became his character through his performance: twitching expression, waddling feet, and contrasting serious air about him. Chaplin often always starred as this unique character which distinguished him as a memorable worldwide film icon and helped him to be the celebrated protagonist of a commemorable 'rags-to-riches' story. He is widely accepted as the face of the silent era and specialises in comical routines that exaggerated his facial and bodily expression to convey plentiful information despite never uttering a single word. He used actions and all elements of mise-en-scene, from costume to setting, that became his storytelling tools which are still so recognisable today. This is one of the reasons why silent film is cherished and highly regarded in cinema; its limitations of dialogue challenged filmmakers of the period to artistically express engaging narratives with magnified actors such as Chaplin to convey emotion clearly. This era of film was the period in which Chaplin thrived most during his career and has cemented himself to be a great pioneer of it, but he also became a well-known director after the 1930s when sound was introduced. His character acted as a release for 1930s society; with the torments of the Great Depression and the struggle of the World Wars, his work became refreshing and uplifting in such troublesome times. However, Chaplin also ventured into more poignant matters that explored political references, such as his satirical depiction of WW1 in a mockery of one of history's worst politicians in his 1940 film 'The Great Dictator'. He has stated his political ideologies- "I am liberal, and I am interested in peace, but by no means am I interested in Communism" -to which it is understandable that he created satire out of radical conservative rule which would land him trouble among the US who banned him from the country from alleged communist sympathies.

Chaplin's early years were heavily influenced by the stage, with his namesake father being a British music-hall entertainer alongside Chaplin's mother who was a singer. This led to Chaplin's first stage debut at the age of 5. He believed his first influence towards performing arts 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.”. His parents neglected him as a child with his apathetic, alcoholic father who deserted his family, and a penniless mother who suffered from psychosis which resulted in Chaplin and his brothers being placed in several workhouses and residential schools from the age of 7. His mother's contacts with the show-business led him to the 'Eight Lancashire Lads' who performed a tap-dancing act, of which he joined as a professional entertainer in 1897. In 1908, at age 19, he joined the Fred Karno pantomime troupe, quickly rising to star status as 'The Drunk' in the ensemble sketch 'A Night in an English Music Hall'. This act toured the US and in 1910, Chaplin was signed to appear in Mack Sennet's comedy films at Keystone Studios, the first being 'Making a Living' in 1914 which introduced Chaplin to the world of film. This film, although not a failure, did not showcase Chaplin to his best advantage, and so he revisited his screen image by conjuring the outfit of his infamous Tramp persona in the film 'Kid Auto Races at Venice' that skyrocketed him to stardom within months of the film's release. 

At the completion of his Sennett contract, Chaplin moved on to the Essanay Company in 1915 at a large salary increase. The following year Charlie was in even more demand and signed with the Mutual Film Corporation for a much larger sum to make 12 two-reel comedies such as 'Easy Street' 'The Immigrant' and 'The Adventurer'.  Chaplin’s popularity reached unthinkable heights when he was recognised as an international film star, the first person in the history of Hollywood to have attained this stature. However, Chaplin sought independence over his films and in 1917, starting the construction of his own studios in Hollywood, entered into an agreement with First National Exhibitors’ Circuit, a new organisation specially formed to exploit his pictures. This established him as an auteur, and he enhanced his creativity as a writer, producer, director, leading actor, and musical composer for his film score which defined a distinction between silent and sound cinema. Many of these comedy films featured the Tramp and therefore act as an unofficial series about the character's life and mannerisms. Under this contract is where he created his six-reel masterpiece in 1921: 'The Kid', which shows the Tramp forming an unlikely relationship with an abandoned child, perhaps reflecting on Chaplin's own life experience with the absence of his father acting as a motivation for Chaplin's auteur characteristics. Afterwards, Chaplin formed the United Artists Corporation with Mary Pickford, Douglas Fairbanks, and D.W. Griffith, of which he made 8 pictures under the association. This is the point where he had ultimate control over his films. This includes 'The Gold Rush' (1925) with Chaplin as ‘The Lone Prospector', who ventures across mountains in search of gold. This notably references the discovery of gold nuggets in California during 1848, where thousands of prospective miners travelled in keen interest of said gold. Although not credited as the Tramp, there are still identifiable characteristics and an unmistakable wardrobe. The film also marked the first time Chaplin received Academy Award recognition with two nominations, though they were conducted in 1943.

With the introduction of sound in the late 1920s that included wordy dialogues and background scores, Chaplin was pressurised to progress to this technical advancement too. However, he had developed his auteur style of filmmaking and didn't wish to tarnish the Americanised image of the Tramp by speaking in his accented British English. Films in which he utilised sound, as well as diegetic sound effects, were in 'City Lights' in 1931 and 'Modern Times' in 1936. Despite the use of no dialogue which would be considered regressive at that time period, the films conjured mass success and further demonstrated Chaplin's power within the silent genre; people came to watch his artistry, which was enhanced by the absence of sound. Before Chaplin worked on 'Modern Times', as he travelled the globe, he observed the effects that the Great Depression and hyper-nationalism had on the populations of the world which developed his anxieties about the future: ‘Unemployment is the vital question...Machinery should benefit mankind. It should not spell tragedy and throw it out of work'. This influenced his motivation to create a film around capitalism and its worrisome contribution to unemployment. The film uses the Tramp character as a factory worker striving to make enough money to start a new life with a young homeless girl with whom he has fallen in love. Therefore, the film acts as a statement for humanity in the industrialised world.

 Despite the genre being a light-hearted comedy/romance, dark undertones juxtapose the genre. This is conveyed through the nature of the machines among the factory workers, showing them to be cogs in a factory line showcased through Chaplin's cinematography. This serious theme is carried out in Chaplin's work, and it is noticeable how his original films become more politically and socially motivated. However, the real conflict began after his release of 'The Great Dictator'. This was a satirical mockery of Adolf Hitler and a criticism of the fascist Nazi regime scoping Europe. Chaplin made a joke out of this serious issue which some found to be inappropriate within such a grave topic as Hitler. Chaplin defended himself by stating that 'Hitler must be laughed at' with its ambiguity failing to distinguish his celebrity from his political beliefs ever again. Chaplin's social critiques in his films depict class struggles through his Tramp persona which were explored usually within his plotlines. He states his relationship with these social issues:  “I am like a man who is ever haunted by a spirit, the spirit of poverty, the spirit of privation,” - We can see this being implemented from The Tramp (1915) to Modern Times - “The whole point of the Little Fellow,” Chaplin said in 1925 of the tramp figure, “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.”. This suggests that the working class are a source of strength and Chaplin's sympathy for the working class defines all his most famous silent films.

Other auteurs of the time included Buster Keaton, who was considered to be Chaplin's friendly rival. Keaton was careful to distinguish his own screen persona from Chaplin’s, saying: “Charlie’s tramp was a bum with the bum’s philosophy. Lovable as he was, he would steal if he got the chance. My little fellow was a working man and honest.”. As both being comedic actors of the silent era, they both showed exaggerated action that usually incorporated comical fighting, chasing, and running scenes. However, they contrasted in performance with Keaton's character portrayal to have a signature stoic expression and deadpan stare against Chaplin's nervous energy. They both served different comedic purposes, and audiences could find admirable differences between each's performances. While Keaton is considered a superior filmmaker, Chaplin was better at writing and performing comedy and delved out of the silent genre after the introduction of sound.