The Great Dictator (Le Dictateur) (1940) - Charlie Chaplin

Comedy Drama) The Great Dictator (Le Dictateur) (DVDrip) 1940

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USA 1940 MK2 Restored version 2002
Director Charlie CHAPLIN

Avec/Cast
Charles CHAPLIN .... Adenoid Hynkel (Dictator of Tomania)/A Jewish Barber
Paulette GODDARD .... Hannah
Jack OAKIE .... Benzini Napaloni (Dictator of Bacteria)
Reginald GARDINER .... Commander Schultz
Henry DANIELL .... Garbitsch

Charlie Chaplin has a dual role in this film, his first with dialogue. He plays a sweet-natured Jewish barber and a murderous Hitler-type dictator with such satirical impact that it counterbalanced the oratory of Adolf Hitler.... Charlie Chaplin has a dual role in this film, his first with dialogue. He plays a sweet-natured Jewish barber and a murderous Hitler-type dictator with such satirical impact that it counterbalanced the oratory of Adolf Hitler. Particularly delectable comic scenes are Hynkel's balletic "pas de deux" with a globe, and a cream cake fight between Hynkel and Napoloni, the dictator of Bacteria.

http://www.imdb.com/title/tt0032553/

http://rapidshare.com/files/147939092/the_great_dictator.part01.rar
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5 min youtube (globe scene) -->

http://www.youtube.com/watch?v=IJOuoyoMhj8&feature=related

The Kid (1921) - Charlie Chaplin

The Kid was Charles Chaplin's first self-produced and directed feature film; 1914's 6-reel Tillie's Punctured Romance was a Mack Sennett production in which Chaplin merely co-starred.

Chaplin had difficulties getting The Kid produced. His inspiration, it is suggested was the death of his own first son, Norman Spencer Chaplin a few days after birth in 1919. His determination to make a serio-comic feature was challenged by First National who preferred two reel films, which were more quickly produced and released. Chaplin wisely gained his distributors' approval by inviting them to the studio, where he trotted out the delightful Coogan to entertain them. Chaplin's divorce case from his first wife Mildred Harris also played a part; fearing seizure of the negatives Chaplin and crew escaped to Salt Lake City and later to New York to complete the editing of the film. Chaplin's excellent and moving score for The Kid was composed in 1971 for a theatrical re-release, but used themes that Chaplin had composed in 1921. Chaplin re-edited the film somewhat for the re-release, cutting scenes that he felt were overly sentimental, such as Purviance's observing of a May-December wedding and her portrayal as a saint, outlined by a church's stained glass window.

INFO
http://www.imdb.com/title/tt0012349/


The story "with a smile and perhaps a tear," begins with unwed mother Edna Purviance leaving the Charity Hospital, babe in arms. Her burden is illustrated with a title card showing Christ bearing the cross. The father of the child is a poor artist who cares little for of his former lover, carelessly knocking her photo into his garret fireplace and cooly returning it there when he sees it is too badly damaged to keep. The mother sorrowfully leaves her baby in the back seat of a millionaire's limousine, with a note imploring whoever finds it to care for and love the child. But thieves steal the limo, and, upon discovering the baby, ditch the tot in an alleyway trash can. Enter Chaplin, out for his morning stroll, carefully selecting a choice cigarette butt from his well used tin. He stumbles upon the squalling infant and, after trying to palm it off on a lady with another baby in a carriage, decides to adopt the kid himself. Meanwhile Purviance has relented, but when she returns to the mansion and is told that the car has been stolen, she collapses in despair. Chaplin outfits his flat for the baby as best he can, using an old coffee pot with a nipple on the spout as a baby bottle and a cane chair with the seat cut out as a potty seat. Chaplin's attic apartment is a representation of the garret he had shared with his mother and brother in London, just as the slum neighborhood is a recreation of the ones he knew as a boy.

Five years later, Chaplin has become a glazier, while his adopted son (the remarkable Jackie Coogan) drums up business for his old man by cheerfully breaking windows in the neighborhood. Purviance meanwhile has become a world famous opera singer, still haunted by the memory of her child, who does charity work in the very slums in which he now lives. Ironically, she gives a toy dog to little Coogan. Chaplin and Coogan's close calls with the law and fights with street toughs are easily overcome, but when Coogan falls ill, the attending doctor learns of the illegal adoption and summons the Orphan Asylum social workers who try to separate Chaplin from his foster son. In one of the most moving scenes in all of Chaplin's films, Chaplin and Coogan try to fight the officials, but Chaplin is subdued by the cop they have summoned. Coogan is roughly thrown into the back of the Asylum van, pleading to the welfare official and to God not to be separated from his father. Chaplin, freeing himself from the cop, pursues the orphanage van over the rooftops and, descending into the back of the truck, dispatches the official and tearfully reunites with his "son". Returning to check on the sick boy, Purviance encounters the doctor and is shown the note which she had attached to her baby five years earlier. Chaplin and Coogan, not daring to return home, settle in a flophouse for the night. The proprietor sees a newspaper ad offering a reward for Coogan's return and kidnaps the sleeping boy. After hunting fruitlessly, a grieving Chaplin falls asleep on his tenement doorstep and dreams that he has been reunited with the boy in Heaven (that "flirtatious angel" is Lita Grey, later Chaplin's second wife). Woken from his dream by the cop, he is taken via limousine to Purviance's mansion where he is welcomed by Coogan and Purviance, presumably to stay.

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http://rapidshare.com/files/136719371/The_Kid__1921_.part7.rar
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Charlie: The Life and Art of Charles Chaplin (2003) - Richard Schickel

Rating: 8.0/10 (511 votes)
Runtime: 132 min
Language: English
Country: USA
Color: Black and White | Color

IMDb Link:

http://www.imdb.com/title/tt0379730/

Director: Richard Schickel
Cast:
Charles Chaplin ... Himself (archive footage)
Sydney Pollack ... Narrator
Woody Allen ... Himself
Richard Attenborough ... Himself
Jeanine Basinger ... Herself
Claire Bloom ... Herself
Geraldine Chaplin ... Herself
Michael Chaplin ... Himself
Sydney Chaplin ... Himself
Johnny Depp ... Himself
Robert Downey Jr. ... Himself
Milos Forman ... Himself
Bill Irwin ... Himself
Norman Lloyd ... Himself
Marcel Marceau ... Himself
David Raksin ... Himself
David Robinson ... Himself
Andrew Sarris ... Himself
Martin Scorsese ... Himself
Jeffrey Vance ... Himself

Description: Narrated by Sydney Pollack, film critic Richard Schickel's dazzling two-hour plus documentary to one of the towering figures in film: Charles Chaplin. Hardcore Chaplin fans may not find much new material here, but more unfamiliar admirers will gain some valuable information about one of the most famous personalities of the 20th century. Schickel has constructed the documentary as a chronological survey of Chaplin's work, starting with his most significant shorts and covering all of his features. Schickel supports his narration with testimony from artists familiar with Chaplin's work and family members who offer personal insights into the comedian's life. The documentary plays down but doesn't ignore the controversies that swirled around Chaplin's private life. But the main focus is on the films. They include some of the best-loved movies of all time. Clips from "Kid Auto Races at Venice," the 1914 Keystone short in which Chaplin first used his Tramp costume, reveal a startlingly modern technique and sensibility, as if the filmmakers were predicting and mocking reality TV. Subsequent shorts show Chaplin refining his 'Little Tramp' character while absorbing the essentials of filmmaking. By the time he made "Easy Street," in 1917, Chaplin had perfected a combination of knockabout farce and Victorian sentiment that still proves irresistible. Chaplin's early features, including "The Kid," "The Gold Rush" and "City Lights," were such blockbuster hits that he could essentially ignore the coming of sound for almost a decade. Those making appearances on the program include Woody Allen, Richard Attenborough, Jeanine Basinger, Claire Bloom, Geraldine Chaplin. Sydney Chaplin, Johnny Depp, Robert Downey Jr., Milos Forman, Bill Irwin, Norman Lloyd, Marcel Marceau, David Raksin, David Robinson, Andrew Sarris, Martin Scorsese and Jeffrey Vance.
*******
"It's hard to believe, but once there was a world without Charlie Chaplin." So begins film historian Richard Schickel's documentary on silent comedy's most instantly recognisable icon, easily defined by no more than a silhouette. Of course, history has not been kind to the lecherous old Tramp: for many contemporary - and especially British viewers and critics - it's equally hard to care one way or another. As Chaplin biographer David Robinson says: "I don't know any race in the world that are more cynical than the English and if you're cynical, you can't like Charlie. He's just unbearably sentimental." While Schickel has confessed that he didn't have a great deal of admiration for his subject when he initially embarked on the project, conversely the end result doesn't feel much like the rapturous hymn of a Born Again-Chaplinist either, seeming neither to care about redressing the balance, unconcerned with bringing anything particularly new to an already creaking table.
A leaden, flat-footed hagiography, caught in its own airless vacuum, and eschewing any probing insight into a deeply flawed and damaged individual; Schickel's Chaplin is little more than a scratch-proof, amber-encased bowler hat, umbrella and moustache to be wheeled in and wheeled out again. Aside from a jagged run-through of already well-documented facts - four marriages, paternity suits, persecution by the FBI - we never once get an inkling of an inner life, or what made Charlie tick.
On the plus side, we do get a pile of classic clips from the performer-director's vast back catalogue, from City Lights ("his acknowledged masterpiece") to The Great Dictator (the non-Chaplin lover's fave) - along with fawning interviews with everyone from Chaplin actor Robert Downey Jr to (a vocal) Marcel Marceau, and a mini film class from the ever-ebullient Martin Scorsese.

A straightforward, if pretty uninvolving hagiography of the 'Little Tramp', unlikely to convert Chaplin-haters, or probably even maintain the interest of the most rabid fan - go watch the films instead.


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Chaplin's Goliath (1996) - Kevin Macdonald

Rating: 7.3/10 (23 votes)
Runtime: 54 min
Language: English
Country: UK
Color: Black and White | Color

IMDb Link:

http://www.imdb.com/title/tt0303838/

Director: Kevin Macdonald
Cast:
Eric Campbell ... Himself (archive footage)
Charles Chaplin ... Himself (archive footage)
Bill Paterson ... Narrator
Edna Purviance ... Herself (archive footage)


Description: A film about the tall actor who was most famous for playing the quintessential villian for Charles Chaplin's Tramp character.

Eric Campbell looms large in the history of silent comedy on the basis of a mere 11 films. Between 1916 and 1917 he appeared as Charlie Chaplin's hulking nemesis in 11 of his 12 comedy classics for Mutual, a literal Goliath to Chaplin's David. With heavy, frowning eyebrows and a slow-burn stare, this huge yet agile Scottish actor became one of the most recognizable faces on the screen and even inspired copycats (one delightful piece of archival footage shows a young Oliver Hardy in a thick black beard blatantly imitating Campbell). In December 1917, on the verge of a brilliant career, Eric Campbell died in a car accident. Writer-director Kevin Macdonald uses archival footage and photos to illuminate his rich career on the British stage and music hall circuit, and interviews paint a portrait of a gentle family man. Macdonald pads out the film with a Scottish-pride slant on Campbell's success (the film's subtitle is "In Search of Scotland's Forgotten Star") and the reminiscences of Campbell's granddaughter, pleasant but unnecessary diversions. The film is at its best when examining his gifts as a screen comic, seen in clips and notably in rare outtakes from his work with Chaplin. His improvisational talents show that "Big Uncle Eric"--as he was known to kids around the world--was no mere foil for Chaplin. Eric Campbell was a creative artist and a comic partner, a vital part of Chaplin's most productive period.



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City Lights (1931) - Charlie Chaplin

City Lights is a 1931 English language film written by, directed by and starring Charlie Chaplin. Chaplin also composed the musical score which comprised the majority of the film's sound, since there is no dialogue in the picture.
The Circus, released in 1928, was Chaplin's last film to debut before motion pictures with sound (known as "talkies" at the time) took over. Since The Circus, sound pictures quickly took over as the industry standard. It was not uncommon for silent actors to oppose the arrival of talking pictures. Had Chaplin been anybody else, he probably would not have been able to shoot City Lights as a silent film, but because of his power in Hollywood, and because he had complete artistic and financial control over his work, he was able to make this film silent (except for music, sound effects, and some unintelligible sounds that mock speech). Dialogue is presented with title cards. Wikipedia


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The Great Dictator (1940) - Charlie Chaplin

The Great Dictator is a film directed by and starring Charlie Chaplin. First released on October 15, 1940, it is a satire of Adolf Hitler and Nazism. Chaplin's film is highly exceptional for the period before the American entry into World War II, when the United States was still at peace with Nazi Germany. Well before the full extent of the horrors of Nazism were known, this movie presented a fearless satire and condemnation of both Hitler and Nazism along with a vivid portrayal of the plight of Jews in Europe. It holds the distinction of being both Chaplin's first "talkie", and his most commercially successful film. Wikipedia

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