In Hong Kong, the wealthy Ogden Mears is traveling in a transatlantic and is near to be assigned Saudi Arabia Ambassador and is divorcing from his wife Martha. His friend Harvey and he are ... See full summary »
Three Chaplin silent comedies "A Dog's Life", "Shoulder Arms", and "The Pilgrim" are strung together to form a single feature length film. Chaplin provides new music, narration, and a small... See full summary »
Before production started, approval was refused by the MPPDA (now the MPAA) under the Production Code (Hays Code), labeling the scenario, still called "A Comedy Of Murders", in their words "unacceptable". They continued, "In his indictment of the 'system' and the 'social structure', the filmmaker offered a 'rationale' of Verdoux's crimes, in terms of their moral work." Worst of all the board also considered Verdoux's attitude toward god "blasphemous". In a letter of response, scene by scene, Charles Chaplin upheld his screenplay again the charge of subversion, but only giving in on details. For example, when one of Verdoux's wives invites him to "come to bed" the line had to be replaced with "get to bed". Chaplin had no trouble getting around such proscriptions, as he did with Verdoux's morning-after "humming" with briskly engaging music. The production board complied and gave this film a seal of approval. See more »
When Verdoux is at the sidewalk cafe, the items on the table change positions between shots - the white match holder is one one side, then the other, and the metal cup is on the plate, then off. See more »
[indicating her fancy, chauffeured automobile]
But you and, uh, all this, uh... What happened?
Oh, the old story: "From rags to riches." After I saw you, my luck changed. I met a munitions manufacturer.
Ah! That's the business *I* should have been in.
Yes. It'll be paying big dividends soon.
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Wow, this is a great film. One of the most underrated Chaplin films, this may not appeal to the ultra-sensitive. Although that is odd since it is a very deeply feeling film. Underlying issues dealing with hypocrisy in (then & now) modern society.
Believe it or not, this is an anti-war and violence film and it is one of the smartest ones I have ever seen. Murder and Mayhem has never been as funny but Chaplin somehow makes sure that his character is not a hero while still achieving his trademark pathos and sympathy from the viewer in the end. The final scenes are surprisingly important and contributes to the growing revisited relevance most Chaplin films are receiving.
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