subscribe to this page
Silver, Charles. “An "Old Man's Film": On Chaplin's Limelight.” MoMA. (Spring 1989): 2+9.
In this article, Silver reviews Chaplin’s 1952 comedy “Limelight”, comparing it to the entertainer’s previous works including “The Great Dictator”. In particular, Silver notes how like “Limelight”, “The Great Dictator” reflects Chaplin’s courage as a filmmaker for challenging the Nazi regime in a time when such confrontation was risky. Silver also commends Chaplin’s method of delivering his message in these films. The article juxtaposes Limelight’s unexpected pauses to argue a point with The Great Dictator’s last scene which abruptly takes a serious tone. In this last scene, the soldiers predictably mix up the barber with the dictator Hynkel and the barber is pushed on stage to address the world. The speech that follows is a reflexive break from the film’s comical tone. In this rousing speech, the barber bashes the Tomainian dominance in the world and yells that the soldiers should unite and fight for democracy, freedom, and peace. Silver argues that the abrupt and discontinuous pauses do not weaken these films but rather enhance their value. Silver writes: “Chaplin had made enough films of self-evident artistry that he knew he had gratified us. As in a post-orgasmic moment, he was now determined to talk about the meaning of that gratification.” In this way, these out of character, lecture-like moments, allow Chaplin to fully embrace the attention his films capture in order to make an important commentary on society. “[A]s our lover for forty years,” writes Chaplin, “he is entitled to our attention and indulgence.”
Silver’s article agrees with the thesis as it demonstrates how Chaplin effectively utilizes his classic comedy to seize the attention of his audience. Critics often attack Chaplin for the speech scene. Lewis Jacobs (see tag for World War II and the American Film) shows how these commentator believe that the scene spoils the continuity of the film. Silver discredits this notion of chaotic filmmaking and demonstrates how Chaplin precisely utilizes such pauses to communicate his antifascist message.
Silver’s article agrees with the thesis as it demonstrates how Chaplin effectively utilizes his classic comedy to seize the attention of his audience. Critics often attack Chaplin for the speech scene. Lewis Jacobs (see tag for World War II and the American Film) shows how these commentator believe that the scene spoils the continuity of the film. Silver discredits this notion of chaotic filmmaking and demonstrates how Chaplin precisely utilizes such pauses to communicate his antifascist message.