Taste of Cinema – Movie Reviews and Classic Movie Lists. Olivia is a Graduate in Electronic Engineering with HR, Training & Development background and has over 15 years of field experience. Charles Chaplin, whose parents were humble musical hall entertainers in London, had a difficult deprived childhood and recurred to the stage – at the age of 9 – in order to support himself once his mother felt mentally ill and his father failed with his parental obligations. Because Chaplin lived an impoverish childhood with great difficulties, he always felt keen towards the underprivileged and this became an essential trace in his comedy, as well as, in the films he developed – from the biographical “The Kid” in 1921 to the great final speech in “The Great Dictator” in 1940 or through the characters of Monsieur Verdoux (who commits crimes in order to support his ill wife and young son) and Calvero (who does everything he can to aid the ruined Thereza).
Through Sennett’s hand a number of people became Hollywood stars. Then, as a sort of car part in a Ford’s assembly line, the film would be shot within days, edited and ready to meet the audiences. Since Chaplin improvised in many of his films, the adding of unexpected elements such as a fall or a gag with an object of some kind had to assume that the camera should be there to capture it. It is hard to compare to great actors just as it is hard to compare two sportsmen. Many actors found the constant takes and uncertainty gruelling, but always went along because they knew they were working for a master.”. Buster was referred to as The Great Stoneface while Charlie was very emotional and his body language and facial expressions conveyed his feelings much more than dialogues would, today. The paranoia that followed WWII, caused troubles to Chaplin in America, particularly with the FBI and the House of Un-American Activities Committee (HUAC), ultimately leading to his exile in Switzerland where he lived until his death in 1977. All this he learned from experience, and mostly, by himself. Therefore, editing was the stage in which the film’s rhythm was really defined for Chaplin, because, unlike Keaton who worked with a team of small collaborators who used to draw an idea of the story before filming, Chaplin worked without a script. Buster relied more on physical comedy whereas Charlie Chaplin’s films had a storyline and it is his emotions that made people laugh. Even though in the beginning of his career, Chaplin worked on a number of slapstick comedies, while developing his own style he left aside some of this basic slapstick elements and decided to develop the narrative complexity of his films by exploring the effect they had over the audience, as well as, developing ideas behind flat comedy just for the show. So, naturally, editing comes as another element in which both diverge. This reveals yet another distinctive trace in Chaplin’s style, he understood the emotional potential of film and its mechanics and used it to reach audiences, whereas, for instance, Keaton used this knowledge of the mechanics of film to build complex visuals and intricate narrative-gag sequences. Chaplin also had a restrict number of faithful collaborators, that can be reduced mostly to one person, his cameraman Roland Totheroh. ‘The little tramp’ was a really gifted artist who learned by himself many important notions when it comes to performance and film. They had contrasting styles to make people laugh. For its competitors, “The Big Three” had: Fox Film, Universal and Keystone, which operated in similar concepts yet with lesser funds. Chaplin’s movies had more of a plot and were full of human reactions and emotions. Chaplin conveyed the story with his actions and continued with silent films even when sound arrived in films. The trademark gait and his silly expressions made Charlie immortal in the eyes of those who have been privileged to see his films. In the simplest of words, the acting styles of these two comedians of silent era can be compared by saying that while Buster aimed for Physical Comedy, Chaplin aimed for Expressive Comedy.
Chaplin used editing to achieve a visual perfection and precision in terms of rhythm while putting a clear emphasis on pathos and in the depth of scenes. The films produced by Keystone were responsible for the birth of Slapstick comedy. With one of those companies, Chaplin embarked on a tour to America and there he was offered a contract with Mack Sennett’s Keystone Film. Difference Between Star Trek and Star Wars, Difference Between Coronavirus and Cold Symptoms, Difference Between Coronavirus and Influenza, Difference Between Coronavirus and Covid 19, Difference Between Siberian Husky and Alaskan Husky, Difference Between South Africa and North Africa, Difference Between Modernism and Postmodernism in Literature, Difference Between Acidophiles Neutrophiles and Alkaliphiles, Difference Between Functional Group and Homologous Series, Difference Between Fermentation and Putrefaction, Difference Between Reciprocal Altruism and Kin Selection, Difference Between Grey Blue and Green Hydrogen. It was not uncommon for him to decide half-way through a film that an actor wasn’t working and start over with someone new. Privacy Policy (http://www.tasteofcinema.com/privacy-notice-and-cookies/) Theme by, Taste of Cinema - Movie Reviews and Classic Movie Lists. For more information on this topic, a great source is the documentary “Unknown Chaplin” (1983). Chaplin had an intricate knowledge of how to express himself through body motion and the importance of the body in performance.
In which the camera should be unconsciously present. The year was 1913. Which controlled both production and distribution of films, as well as, theatre chains where they would be exhibited. Furthermore, this contract allowed Chaplin to establish his own studios where he directed most of his later films some released through United Artists (which he founded in 1919 with D. W. Griffith, Douglas Fairbanks and Mary Pickford), such as “Gold Rush” (1925), “City Lights” (1931) or “The Great Dictator” (1940).
Not to move around it or capture the action from different angles just capture it.
All rights reserved. Chaplin should come in the dictionaries as the synonym of one man show. Therefore, one must assume Chaplin’s visual style as coherent, simple and sharp. And many historians have claim “The Tramp” (1915) as one of the first examples of putting emotion in comedy, particularly, in a scene where the tramp gets shot by a farmer and instead of using this to introduce yet another gag, Chaplin chooses to have the tramp really hurt and showing pain which made audiences feel pity and sorry for Chaplin’s character. Buster experimented with colors and added an orange tint to one of his films (7 chances). Since Chaplin improvised a lot, editing was more than just the moment where the film was put together, it was the moment where all the apparent loose scenes he had shot were assembled into one piece – a film. On this subject PBS describes Chaplin’s shooting process writing: “He shot and printed hundreds of takes when making a movie, each one a little experimental variation. Contrary to Buster Keaton, Chaplin worked around unscripted stories and, thus, his storytelling process was based solely on improvisation. They both helped the movie industry by making funny and popular films. Buster acted in films that had more violence whereas Charlie produced laughter with his situational comedy in daily life situations. Pathos or the appeal to emotion was introduced in comedy via Charles Chaplin. A vehicle for different types of comedy, for emotion, for ideas and for channeling a message. Buster was referred to as The Great Stoneface while Charlie was very emotional and his body language and facial expressions conveyed his feelings much more than dialogues would, today. Chaplin also had a preference for shooting in studio because it provided him with an environment where he be in control of everything.
Taste of Cinema 2019. Intelligent and restrained use of the Slapstick elements. Contrary to Buster Keaton, Chaplin worked around unscripted stories and, thus, his storytelling process was based solely on improvisation. This model was also applied in the Triangle Film Corporation, a partnership between Ince, D. W. Griffith and Mack Sennett. 1.
Some other, more obvious differences between these two stalwarts are as follows, • Chaplin was a British actor, while Buster was American, • Chaplin wore a bowler hat while Buster wore a pork pie hat, • While Chaplin retained ownership of his films initially, he was a rich man; Buster sold his films and struggled with his finances, • Chaplin once directed Keaton in Limelight, whereas Keaton never got a chance to direct Chaplin, • Chaplin married thrice with little girls, whereas Keaton married 3 adult women, Filed Under: Movie Tagged With: Buster Keaton, Buster’s movies, Charlie Chaplin, Charlie’s movies, Expressive Comedy, greatest actors, greatest actors of the silent film era, physical comedy. However, 1918 was his most profitable year once he signed a million-dollar contract with First National Pictures, for which he directed films like “A Dog’s Life” (1918), “The Idle Class” and “The Kid” (1921) or “Pay Day” (1922). During the period of 1913 – 1935 Keystone produced a great number of “two reelers” (short films) and features films that were responsible for the birth and consolidation of slapstick comedy that often worked as a parody of more “serious” films such as Griffith’s. And this is the reason why after his period in Keystone, the comedy master started developing a character “the little tramp” which would become a symbol of Chaplin’s comedy style. Keystone was owned by Mack Sennett, to many unknown, to others known as the father of silent comedy. In 1912, “Inceville” was the first studio to test the following filmmaking method: a number of production units, each headed by a director, who had the responsibility of supervising a team of writers who delivered shooting scripts to their boss – Ince – and upon his approval, worked in collaboration with him to lay out the film shot by shot. This was the state of the film industry when Chaplin and Keaton began their careers somewhat around the 1910s. Below this line, operated minor studios such as Columbia (which later became a major studio), Republic or Monogram that became part of what in the 1920s became known as the “poverty row”, a group of small studios responsible for producing B pictures. In 1915, Chaplin signed a contract with Essanay Films which provided him with full artistic control over his projects. During his teenage years, Chaplin worked for several travelling vaudeville shows and managed to participate in theatre productions that toured all over the country, as well as, abroad. Thomas H. Ince was responsible to conceive the production system adopted by Hollywood during its Golden Age.
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