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Joan Mellen, Modern Times
Notes (partial) |
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| I. The Little Fellow Based on ‘contradiction’ Music hall background: working class, stock characters David & Goliath: ‘mythic underpinning of all of Chaplin’s films” Many-sided: ‘tramp, a gentleman, a poet, a dreamer, a lonely fellow, always hopeful of romance and adventure . . . not above picking up cigarette butts or robbing a baby of its candy.” Hounded by authorities Innocence Dignity Chivalry Romantic hunger Hope Outsider “indomitable Everyman” Set in “economic structure of a faltering social order” Eating is important Ability to survive No malice Always ends with spiritual victory Socialistic Does not idealize the poor – socialist realism “social inequality is the premise of all the tramp films” Rich are allied to the police Tramp is not identical to Chaplin Tramp is earnest; Chaplin is ironic Based on Chaplin’s upbringing in poverty and hardship Lifelong effects Contradictions in the man Mellen: Chaplin’s personal weath is not politically contradictory, because “his overriding theme is that everyone should share the ‘best of the current social system.’” II. Toward Modern Times Machinery: Chaplin's view of its role in modern life Chaplin on films with messages or propaganda Alternate titles for Modern Times: Commonwealth, The Masses Henry Ford as model Chaplin on the relationship of the Tramp & Gamin: "live spirits," "playmates," no romance Development of Modern Times - original script: more revolutionary - dropped scenes - increased role for Gamin - consideration of synchronized sound, dialog Boris Shumyatsky and Modern Times Chaplin's relationship with Alfred Newman Contemporary film critics and the depoliticizing of Modern Times III. The Film See comments on individual scenes and sequences |
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