Tuesday, August 24, 2010

Chaplin (1992)

Cast: Robert Downy, Jr., (Charles Chaplin), Geraldine Chaplin (Hannah Chaplin), Paul Rhys (Sydney Chaplin), John Thaw (Fred Karno), Moira Kelly (Hetty Kelly/ Oona O' Neill Chaplin), Anthony Hopkins (George Hayden), Dan Aykroyd (Mack Sennett), Marisa Tomei (Mabel Normand), Penelope Ann Miller (Edna Purviance), Kevin Kline (Douglas Fairbanks), Maria Pitillo (Mary Pickford), Milla Jovovich (Mildred Harris), Kevin Dunn (J. Edgar Hoover), Diane Lane (Paulette Goddard)

Director: Sir Richard Attenborough

Genre: Biography/ Drama


If there's one thing audiences anticipate with a biographical movie, it's who is going to portray the main character and whether they will look like the real person. I'm sure the level of this anticipation is determined by the popularity of the person audiences are paying to learn about. Casting is everything. After all, you got to have to audience really get to know the person who they've paid to learn about...whether it's Jesus in The Passion, or Charlie Chaplin in this movie.

Chaplin can be considered a grand-daddy of motion pictures. He's an iconic image worldwide, portrayed in many various ways. So, picking the right actor to portray him was worth scrutinizing.

Chaplin is the biographical movie about the silent film comedian, writer, composer, producer and director. It's based off the books My Autobiography by Charles Chaplin and Chaplin: His Life and Art by David Robinson.

Robert Downy, Jr., did a bang-up job in portraying Chaplin. He starts from his days in Vaudeville, to his elder days. His portrayal of Chaplin's changing personality from a budding comedian to a respected but lonely genius was so well done. Downy's studies into Chaplin's life and art really paid off.

The movie portrays Chaplin dictating is autobiography to a fictitious stenographer. Chaplin starts off his own story with his days as a young boy watching his mother, Hannah Chaplin, slowly deteriorate mentally. He was born into poverty in London and lived with his mother and brother Sydney.

The film doesn't make much mention of his father other than he wasn’t much involved with Chaplin’s life. He drank and died as a result.

He then follows with his discovery by Fred Karno, a British music hall impresario. From there, Chaplin speaks about entering British Vaudeville before coming to America at the request of movie maker Mack Sennett.

Chaplin's career in movies took off, making him a world-wide star. Despite this huge success, and a few failed marriages, Chaplin suffered from loneliness- an ailment he couldn't quite overcome. He stayed very much attached to the things of his past and didn't take too much for granted.

As movies started to transition from silent to "talkies", Chaplin made an effort to keep films silent, thinking talkies would be a mere fad that audiences would soon grow tired of. He thought talkies would insult the imagination of audiences. He held out with talking motion pictures by making a few silent movies while talking had already taken over the movies. His persistence paid off with two huge successful motion pictures, City Lights and Modern Times.

Finally, he couldn't hold out as his good friend and actor Douglas Fairbanks told him he wouldn't. He made his first talking movie, The Great Dictator, which didn't gain a whole lot of popularity as he played both a Jewish barber and a dictator parody of Adolf Hitler.

FBI Director, J. Edgar Hoover had a dislike for Chaplin and all the while, had tried to pin something on Chaplin whom he considered to be nothing more than a public scandal.

As The Great Dictator was released, it caught the attention of both Hoover and Sen. Joseph McCarthy. Chaplin wasn't spared from the notorious McCarthy hearings and was eventually labeled a communist. After making a series of movies where he played other characters aside from his  "little tramp" alter ego, he was asked to leave the United States on suspicion of being a communist. He spent the rest of his years living in Switzerland. He did return to the U.S. one last time in the mid- 1970's to receive his honorary Oscar Award.

The film shows the true side of this iconic comedian’s life. It portrays the truth, personified in Chaplin, that comedians must know sadness in order to be comedians better than any other film I've seen dealing with a similar story.

The various celebrities are well cast, especially Geraldine Chaplin portraying her own grandmother.

Chaplin described himself as, "a gentleman, a poet, a dreamer; always hopeful of romance." Downy captured that description very well. He particularly portrays Chaplin's dedication to perfection in his artful films well. The emotion and drama is superb. There is a fair amount of "Chaplinesque" comedy but it's not over done and doesn't take anything away from the movie.

Downy's British accent is the only problem in the film. That much was terrible. It distracts at times from his acting. There were a few scenes where it was obvious he was attempting it a little too hard.
The soundtrack is enjoyable, especially the use of the score from City Lights written by Chaplin himself.

This movie does contain some adult subject matters so... discretion is advisable.

Monday, August 02, 2010

Groucho: A Life in Revue

Cast: Frank Ferrante (Grouco Marx), Roy Abramsohn (Harpo Marx, Chico Marx), Marguerite Lowell (The girls), Scott Greer (The citizen)

Director: Steven Moskovic

Genre: Biography/ Comedy



How many people can say, “I was president of the United States?” Well, the answer is four, but it’s really a rhetorical question. Who can say that they’re the Queen of England (aside from the Queen herself) or the Prince of Wales (except for the Wale himself), or the fifth Beatle or anything else so high and lofty? Nobody! Who can say that they’re the next Groucho Marx? Frank Ferrante can say “I am” with certitude. He is the next Groucho Marx. I’m willing to bet that if the first Groucho were alive to see Ferrante portray him in this stage production of his life, he would surely say, “better him Groucho than me.”


This production, written by both Robert Fisher and the ultimate authority of Groucho Marx-his son, Arthur Marx- portrays Groucho in four acts.

The first act portrays Groucho’s life with his brothers in their Vaudeville days, including the Marx’s relation to Al Shean of the Vaudeville act, Gallagher and Shean.

Act two shows the Marx Brothers that so many educated people with a classy taste in films are still familiar with today. In this act, Ferrante as Groucho (Julius Marx) talks about how he and his brothers, Harpo (Adolph Marx), Chico (Leonard Marx), Zeppo (Herbert Marx) and Gummo (Milton Marx) got their nick names.

Act three covers Groucho’s You Bet Your Life days. You Bet Your Life was Groucho’s quiz show that ran for about 12 years on NBC. (You Bet Your Life) He discusses how the show helped Groucho make a financial comeback as war was not only breaking out in Europe; it was breaking out in Beverly Hills. The jokes, ad-libs, songs, dances, and all that other Marx Brothers stuff- namely, from Groucho’s routines- are perfectly mirrored from the Marx Brothers. It’s remarkable.

Harpo and Chico are both portrayed by co-star Roy Abramsohn. He could use some work on mastering Chico’s artificial Italian accent, but why get nit-picky about it. He’s got all the rest of Chico Marx down, especially his fanciful, artistic piano playing. As Harpo, he needs no improvement. He can pluck the harp like Harpo and move his face like Harpo. He plays them both well.

Actress Marguerite Lowell portrays all 10 female roles in the show, including that of the real Groucho’s leading lady from his pictures, Margaret Dumont.

Act four portrays Marx in his last days, when he had lived through four marriages, and world-wide fame.

James Lipton commented in the Actor’s Studio that imitation is a high form of art…or something like that. Ferrante has Groucho down to a “T”. His voice, his mannerisms and his looks are all perfectly Groucho Marx. It’s amazing to watch.

His show ranks right up there with great performances such as Hal Holbrook’s Mark Twain Tonight. Ferrante takes all the familiar and best of Groucho’s routines and jokes, even in his portrayal of Marx during his grey days. His voice impersonation of Marx at this point of his life is dead on.

What I find most remarkable is how well Ferrante portrays the underlying sadness that Groucho disguised so well in his wit and humor. Ferrante quotes Groucho in the fourth act when he says, “For me, there’s a very fine line between sadness and comedy. Most comedians are very sad people. Well, if I didn’t know sadness, well… I wouldn’t have spent all these years trying to make people laugh.”

I think Ferrante pays too much attention to dirty jokes Groucho may have told. I’m sure Ferrante is aware that Groucho had told Dick Cavett in an interview anybody can tell a dirty joke and get a laugh. But making people laugh without being dirty is a real comedian. It was too easy, Groucho said. In fact, Groucho said he was very sensitive on the issue. I think Ferrante could have paid some homage to that instead of telling some of those dirty jokes he told. Groucho on Dick Cavett

Otherwise, Ferrante is so extraordinary in portraying Groucho Marx. He can truly say he is the next Groucho Marx.

*The real Groucho taken from the 1933 Paramount film Duck Soup. Right: Frank Ferrante in his portrayal of Groucho.