DVD Review: The Chaplin Collection: The Great Dictator, Modern TimesBy Glenn Abel |
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Charles Chaplin had a problem with authority. Policemen,
bosses, bureaucrats -- the powerful and the pompous all had it coming. The
Little Tramp usually had his way with them all before the lights came up.
In 1938, with the winds of war swirling in Europe,
Chaplin took on his biggest target -- the swaggering former tramp from Austria
who lorded over Germany and its Nazi Party. The satire would be called "The
Great Dictator."
It seemed, at the time, a fair fight. The most
popular man in the world vs. Adolph Hitler, leader of a reeling nation. Just two
years before, in "Modern Times," Chaplin had tackled capitalism as personified
by Henry Ford, a union-busting admirer of Hitler.
Chaplin's weapon of choice was comedy, and it was feared.
"A comic David had arisen to fight Goliath," film
critic Stanley Kauffmann recalls thinking, joyously, at the time.
Today, Charles Chaplin the man remains as closely
linked to his leftist politics as Charlie Chaplin the comedian is to his derby
hat, cane and mustache.
Fittingly, Warner Home Video's highly anticipated
"The Chaplin Collection" opens with the filmmaker's most political films -- "The
Great Dictator" and "Modern Times" -- as well as the classic "The Gold Rush" and
the melancholy "Limelight" (see editor's notes). They are the vanguard of 10
titles in the WHV series. The two-disc titles retail for $29.95; a gift set goes
for $89.92.
All four films look great, hopefully erasing
memories of past video butchery. The movies were digitally remastered from the
Chaplin family's picture and audio elements, resulting in what could stand as
definitive versions of the films.
The black-and-white contrasts are often dramatic,
notably in "Modern Times." Wear seems limited to what was necessary to retain.
"Dictator" has quite a few scratches but still looks great.
The elegant Dolby Digital 5.1 audio mixes aren't
shy, but have an organic feel, rarely calling attention to themselves. The
original mono sounds powerful and focused.
Based on the initial titles, the Chaplin series'
extras tend toward the whimsical. "Modern Times," for example, includes a
government educational film from 1931 hailing assembly-line labor. Then there's
an auto plant promo film featuring a symphony commissioned by Henry Ford and a
1967 Cuban documentary about a village getting a first look at a movie, which
just happens to be "Modern Times."
Other extras are straightforward: Three of the four
DVDs have brief introductions by Chaplin biographer David Robinson, all
inconveniently placed on the bonus disc. MK2TV provides half-hour "Chaplin
Today" documentaries, which feature filmmakers commenting on the film at hand.
"The Great Dictator" (1940) breaks the pattern with
"The Tramp and the Dictator," a fascinating hourlong docu made in 2001 for
Turner Classic Movies. The men were born in the same week of the same year, the
docu points out, before delving into the strange tale of Chaplin's film.
Nazi propagandists attacked Chaplin, saying he was
Jewish (he wasn't, but he refused to deny the claim). Chaplin's homeland,
Britain, vowed to ban the upcoming film, hoping not to anger Hitler. Chaplin was
under pressure in his adopted home of the United States not to make the film,
which he would have to finance himself via United Artists. Chaplin pressed ahead
after a message of support came from President Franklin D. Roosevelt himself.
The film remains controversial to this day. A
historian appears in the DVD docu criticizing the movie's mix of humor and real-
life horror. That appears to be a minority view. "Comedy is the greatest way to
attack anything like a totalitarian regime -- they can't stand it," author Ray
Bradbury says.
Chaplin played two roles: the ridiculous-but-deadly
dictator Adenoid Hynkel (Hitler) and a Jewish barber who was a dead-ringer for
the despot. Actor Jack Oakie turns up as a buffoonish Mussolini.
Although the film was banned in many parts of
Europe, it became Chaplin's biggest boxoffice success. (The tagline was "The
world laughs again.") Wartime records showed that Hitler saw the film not once,
but twice.
Chaplin himself had doubts about the film and
almost withheld it from release when Hitler invaded France. Had he known the
extent of the Nazis' evil, Chaplin said later, he never would have made "The
Great Dictator."
More accessible and vastly more entertaining -- but
no less topical -- was 1936's "Modern Times," arguably among the greatest films
of all time. The working title was "The Masses."
Chaplin's Little Tramp makes his final feature
appearance in the film, which was a silent except for sound effects and the
voices of authority heard over loudspeakers and radios. (Chaplin was the last
director to make silents in Hollywood. He feared becoming just another comedian
once he spoke and once he had given "talkies" six months.)
Chaplin's voice is first heard in the film's famous
nonsense song, sung in a nonexistent language, in which he entertains bar
patrons with a ribald tale. Viewers can sing along in a karaoke bonus version.
The film is full of marvelous images: the Little
Tramp stuck in the cogs of factory machinery; a herd of sheep turning into an
urban crowd; Chaplin inadvertently leading strikers into a clash with police.
"Modern Times" had an obvious influence on talents as diverse as Stanley Kubrick
and Lucille Ball.
Both "The Great Dictator" and "Modern Times" were
billed as "Produced, written and directed by Charles Chaplin with Paulette
Goddard."
The actress and leading man (twice her age) married
during their collaboration. "You feel that the man shooting her is in love with
her," director Jean-Pierre Dardenne observes.
The original ending had Goddard's girl of the
streets becoming a nun (the scene was shot but not edited, as seen in the
extras). And so the world had its last look at the Little Tramp as he walked off
into the distance with Goddard's character, happily ever after, perhaps.
Other extras of note on "Modern Times" include a
performance of Chaplin's theme song "Smile" by Liberace, a complete version of
the nonsense song, an outtake about the Little Tramp crossing an L.A. street
(there are many city locations in the film) and extensive photo galleries.
"The Great Dictator" extras include extensive color
footage of the production shot by Chaplin's brother and recently discovered.
"Charlie the Barber" is an outtake from 1919 in which he developed the barber
character. Both DVD sets include poster galleries and some terrific scenes from
"The Chaplin Collection" films.
Glenn Abel is Executive Editor, Electronic, at The
Hollywood Reporter Reprinted, with permission, from The Hollywood Reporter
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