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Title: Chaplin (1992)
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| Cast overview, first billed only: | |||
| Robert Downey Jr. | ... | ||
| Geraldine Chaplin | ... | ||
| Paul Rhys | ... | ||
| John Thaw | ... | ||
| Moira Kelly | ... | ||
| Anthony Hopkins | ... | ||
| Dan Aykroyd | ... | ||
| Marisa Tomei | ... | ||
| Penelope Ann Miller | ... | ||
| Kevin Kline | ... | ||
| Maria Pitillo | ... | ||
| Milla Jovovich | ... | ||
| Kevin Dunn | ... | ||
| Deborah Moore | ... |
Lita Grey
(as Deborah Maria Moore)
|
|
| Diane Lane | ... | ||
The biography of Charles Chaplin, filmmaker extraordinaire. From his formative years in England to his highest successes in America, Chaplin's life, work, and loves are followed. While his screen characters were extremely hilarious, the man behind 'The Little Tramp' was constantly haunted by a sense of loss. Written by Murray Chapman <muzzle@cs.uq.oz.au>
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An attempt to make a film that is both honest and at the same time shamelessly self-serving about its (auto)biographical subject -- the legendary comedian/director Chaplin -- is pulled off with style. It's fun to see some modern talents inhabit the roles of screen's bygone icons (though in some cases a little less charicature would have been appreciated, especially in the case of Mabel Normand). Kline, surprisingly enough, makes a convincing Fairbanks. The rest of the cast is also well-picked -- X-Files fans should watch closely to catch quite a few glimpses of lower-billed David Duchovny as Chaplin's personal editor.
The direction is very good; I particularly liked how some of the straight scenes were filmed in a comic, surrealist style (Chaplin's escape from the police w/ his cans of "the Kid" reels is staged like a Keystone Komedy), while some of what might have been more comic elements are played straight (Chaplin's attempt to convince his brother that "The Tramp" cannot talk in a movie is both funny and serious, for example). Some of the (perhaps true to life) melodramatic elements are a bit overplayed (the bit with his mom was handled too heavily for my tastes, especially her shouting his name as she's dragged away by the asylum guards), but generally the film avoids genre cliches and "easy" scenes.
Great photography.
Downey Jr. fits the roll well, even rising to many of the physical challenges of the Chaplin mystique.
A superior film of its type, laced with self-conscious humor and self-reflection on the artistic temperament.