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The Circus (1928) - Charlie Chaplin

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metaldams:

--- Quote from: Umbrella Sam on April 20, 2020, 07:56:18 PM ---I’m in the rare camp that actually considers THE CIRCUS to be better than THE GOLD RUSH. While I still have issues with THE GOLD RUSH’s ending, I find that I really don’t have any issues with THE CIRCUS.

For starters, the chase at the beginning is absolutely fantastic. Sure, we’ve seen Chaplin chases countless times before, but this one really takes advantage of its setting, particularly with the mirror hall and when they’re pretending to be the mechanical men. The movements and timing are spot on throughout and it’s a good reminder that Chaplin could still pull off good old fashioned comedy without any of his more prominent attentions to story detail. I could totally see that chase alone being released as a successful one-reeler. I also really like how, after escaping the second policeman, the Tramp gives the wallet to the first policeman. The first policeman still seems to think the wallet is his, but the Tramp is so worn out that he just has to be rid of it at all costs, even when he’s no longer being chased.

The romantic storyline is very well-paced here. For one thing, I really like how, the minute he first meets her, the Tramp is not immediately attracted to Merna Kennedy. In fact, he actually starts off mad at her because she unknowingly took some of his food. He slowly warms up to her as he begins realizing how starved she truly is. I think that’s a really nice touch, especially compared to other comedies that often go for the “love-at-first-sight” angle. It’s also interesting from Merna Kennedy’s angle, because throughout the film she never really sees the Tramp as a romantic interest, but as a friend instead. The Tramp feels hurt by this, but it’s not like THE GOLD RUSH where Georgia Hale intentionally plays with his feelings; she legitimately seems unaware of the Tramp’s feelings throughout, so that makes it even more interesting when she does decide to go with him near the end and the Tramp has to realize that they truly can’t be together.

The comedy becomes a lot less prominent as the film goes along, which kind of makes sense. It’s implied that, after the Tramp’s first official performance, the whole show kind of becomes routine by repeating what was done on that first night. Obviously we wouldn’t want to see the same exact thing over and over again, especially since it’s implied that each performance gets gradually weaker and weaker as the Tramp’s mood worsens and worsens. I suppose I could see this as a negative in the views of Chaplin fans, but it still does provide a good showcase for his attention to story details and pacing, which became more of his strength as comedians like Lloyd and Keaton became more and more prominent.

One thing I will concede that THE GOLD RUSH indeed does better than THE CIRCUS is with the climax. The climax in THE CIRCUS is still fun, but it’s outlandishness does work a bit against it. I suppose the same could be said for THE GOLD RUSH in a way, but it’s in a much brighter setting and it ultimately does lead to an important discovery, while the climax here is kind of just a fun distraction that never ends up building to anything storywise; the Tramp’s firing could have easily taken place before the high wire act and nothing really would have affected it. Again, this is an extremely minor point, not even one that I think is worth downgrading the film at all for, because it is still a very fun climax that does have a different style compared to what the other major comics were doing at the time.

I think choosing a circus was very fitting for Chaplin, because, while its goal is to provide fun entertainment, a circus is a very depressing atmosphere at the same time, and that’s kind of the direction Chaplin had been aiming towards in his films the entire decade. I especially love the ending with the famous shot of him walking away in the distance. Sure, he used it before, but this was really the only time he used it in one of his features (technically he used it in MODERN TIMES, but he’s not alone there). It’s always such a good ending because while it is depressing, there also is that glimmer of hope in the way he walks; the promise of a brighter future that might come someday, even if it’s probably not anytime soon. THE CIRCUS is a great showcase for that concept, thanks to Chaplin’s detail in the pacing of his plot. It may not be a super funny movie throughout, but it’s not supposed to be. Chaplin’s just doing what he feels is natural, and he pulls it off extremely well.

10 out of 10

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Great review, my friend.

Umbrella Sam:

--- Quote from: metaldams on April 20, 2020, 08:21:37 PM ---Great review, my friend.

--- End quote ---

Thanks.

NoahYoung:
I just watched this again last week.

I'm from the school of thought that comedians like Chaplin here, and the Marx Bros. in AT THE CIRCUS, belong in a circus, so you lose that contrast that can make things really funny. I like my comedians to be out-of-place in a setting -- to me that's much funnier.

What's funnier than a Stooges short in which they invade high society?

I agree that the opening scene with the pickpocket and the funhouse were superb. Excerpts from this were included in CHAPLIN (1992).

I find the rest of the film to be good, but not great, Chaplin. But good Chaplin is still pretty darned good.

For pure laughter, I still think nothing in the Chaplin cannon tops the 12 Mutual shorts.

metaldams:
I think when Chaplin plays his tramp character, he’s out of place anywhere but the street or a boxcar.  Makes it charming.  But I get the sentiment of what you’re saying.  A funny man in a circus can be a tad obvious.

I’ve been thinking of revisiting this film, so timely comment.

Dr. Mabuse:
Chaplin talks to journalists about the 1969 reissue of "The Circus."

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