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 »
Charlie meets a couple and agrees to care for the man's crippled uncle. After the couple breaks up the man's new girl drops some eggs which Charlie slips on while trying to control the ... See full summary »
In Hong Kong, the wealthy Ogden Mears is traveling in a transatlantic, close to being assigned Saudi Arabian ambassador, and divorcing his wife Martha. He and his friend Harvey are invited by their old friend Clark to go to a nightclub with three aristocratic Russians on their last night. Ogden drinks too much and spends the night with Countess Natascha. The next morning, while sailing back home, Ogden finds Natascha hidden in his cabin wearing a ball gown and with no documents. The stowaway explains that she wants to go to the United States and Ogden is worried about his career. But Harvey convinces him to help Natascha. Ogden falls in love with Natascha, and he and Harvey plot a fake marriage between Natascha and his valet Hudson. Things get complicated when Immigration requests Natascha's documents and Martha arrives on board.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
During "everybody is getting sea-sick" scene Ogden, Natascha and Harvey push an ashtray around the table until Ogden angrily swipes it off the table. Shortly after it's back on the table in front of Natascha's chair and in the next shot it moves over to be in front of Ogden's chair, although nobody is at the table at that time. See more »
Chaplin's last picture is a film with many faults, yet it's not as bad as often claimed. I've seen it many times myself. Here is my opinion of it:
One of the most important flaws is the miscasting of Brando. He seems ill at ease. Thus Loren has to carry the film virtually alone. The whole structure of 'Countess' is not well balanced. There's too much simple visual comedy for a romantic comedy, and vice versa. The plot is thin (It's supposed to be simplistic). Also, the score is at times muddled as previously introduced dramatic themes come and go without any reason (see and hear Hedren's first appearance.) The film is also a bit overlong.
The good things: There are points when the music is up to Chaplin's usually high standards (Cargill's comedy scene, storm theme). Cameo appearances are nice. Direction is more focused and production values are certainly superior to A King in N.Y. Yes, I believe, that what is often described as Chaplin's 'flat' direction due to a lack of skill is an artistic style by choice. Simpleness is not the same as unskilfulness. For instance, during the dance scenes, the camera movement following actors is subtle and economically made. You'll notice it if you watch them in fast-forward.
And if one may feel disappointed at the film on the whole, there's at least a very beautiful, poignant and simple ending that is in my opinion the best of any Chaplin film I've seen. Its every element is in place.
Therefore it's a rather mixed bag of a movie, most suitable for Chaplin fans and very interesting as a curio, at least.
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