From 1923 through 1929 Chaplin made only three features: A Woman of Paris (1923), which he directed but did not star in (and his only drama); The Gold Rush (1925), widely regarded as his masterpiece; and The Circus(1928), an underrated film that may rank as his funniest. All three were released by United Artists, the company cofounded in 1919 by Chaplin, husband-and-wife superstars Douglas Fairbanks and Mary Pickford, and director D.W. Griffith. Of the three films, The Gold Rush is one of the most-memorable films of the silent era. Chaplin placed the Little Tramp in the epic setting of the Yukon, amid bears, snowstorms, and a fearsome prospector (Mack Swain); his love interest was a beautiful dance-hall queen (Georgia Hale). The scene in which the Tramp must eat his shoe to stay alive epitomizes the film’s blend of rich comedy and well-earned pathos
The Sound Era: City Lights To Limelight
In 1932 Chaplin began a relationship with young starlet Paulette Goddard. His next film, Modern Times (1936), was a hybrid, essentially a silent film with music, sound effects, and brief passages of dialogue. Chaplin also gave his Little Tramp a voice, as he performed a gibberish song. Chaplin played a nameless factory worker who has been dehumanized by the mindless task he has to perform—tightening bolts on parts that fly by on an assembly line; Goddard played “A Gamin,” the waif who comes under his wing. It was the last silent feature to come out of Hollywood, but audiences still turned out to see it. Most significantly, it was the Little Tramp’s final performance.
The Great Dictator (1940) was Chaplin’s most overt political satire and his first sound picture. Chaplin starred in a dual role as a nameless Jewish barber and as Adenoid Hynkel, Dictator of Tomania—a dead-on parody of German dictator Adolf Hitler, to whom Chaplin bore a remarkable physical resemblance. Goddard played Hannah, the barber’s Jewish friend, who flees Tomania after the barber is arrested and sent to a concentration camp, and Jack Oakie gave a hilarious impersonation of Italian dictator Benito Mussolini as Napaloni, Dictator of Bacteria. The japing tone of the picture’s lampooning was a movement away from Chaplin’s usual poetic approach; The Great Dictator was simply too bitter and too outraged to permit much in the way of gentle comedy. The film did well at the box office, and he received his only Academy Award nomination as best actor.
After making just three movies over a 10-year period, Chaplin would take seven more years before his next film. Problems in his personal life were again partly to blame. In 1942 he and Goddard divorced (despite likely never having officially married). In 1943 a paternity suit was brought against him by young would-be actress Joan Barry. That same year he married 18-year-old Oona O’Neill, daughter of playwright Eugene O’Neill; again he was accused of cradle robbing. In the Barry suit the courts ruled against Chaplin in 1944; he was named the father of Barry’s child, although he was cleared of the more serious charges of violating the Mann Act, which prohibited interstate transportation of women for “immoral purposes.”
His darkest comedy, Monsieur Verdoux, was released in 1947, and by then Chaplin was in the headlines again, as possibly being called before the House Un-American Activities Committee (HUAC) to testify about his relations with communists, especially exiled German composer Hanns Eisler. Chaplin starred in that “Comedy of Murders” (as Monsieur Verdouxwas promoted) as Henri Verdoux, a happily married father and former bank clerk who becomes the scourge of 1930s Paris by romancing and then killing a series of rich widows and spinsters for their fortunes. (Chaplin’s character was based on French murderer Henri Landru, who was known as the Bluebeard of France when he went on his killing spree during the 1910s.) Monsieur Verdoux was an utter failure commercially upon its release—his first since A Woman of Paris 24 years earlier—and critical opinion was divided, although Chaplin’s screenplay was nominated for an Oscar. It is still difficult to determine whether Monsieur Verdoux would have been better received had he not been suffering from the attentions of HUAC. When Chaplin heard news that he would be summoned before the committee, he immediately accepted, saying, “I am not a communist. I am a peacemonger.” He planned a rerelease of Monsieur Verdoux in Washington, D.C., for the week Eisler was to testify before HUAC, and he invited the committee members to the premiere. However, HUAC chairman J. Parnell Roberts canceled Chaplin’s appearance and said he would not be a part of publicity for Monsieur Verdoux.
Chaplin took another five years to launch his next film, the melancholyLimelight (1952). He played Calvero, a music-hall idol whose day has passed, and British actress Claire Bloom (then 19) costarred as Terry, a ballet dancer whom Calvero saves from a suicide attempt; he shelters, encourages, and finally helps elevate her to the top of her profession, even as his own star dims and then blinks out. Chaplin’s half brother Sydney and his son Charlie, Jr., both had small parts, and silent comedy star Buster Keaton had a key role as a theatre pianist who watches Calvero expire. (Limelight would be given an Oscar for its score, to which Chaplin contributed, in 1973, after the film finally received the requisite release in Los Angeles.)
For Chaplin, Limelight’s release was further tainted by the U.S. Immigration and Naturalization Service advising him (as he sailed on an ocean liner with Oona to the film’s premiere in London) that he would be denied reentry to the United States unless he was willing to answer charges “of a political nature and of moral turpitude.” The Chaplins continued on their way to England; she returned to the States to close out their business affairs, while he kept going, finally settling in Corsier-sur-Vevey, Switzerland, where he and Oona would live for the rest of their lives. He liquidated his interest in United Artists.
Final Works: A King In New York And A Countess From Hong Kong
Chaplin made use of his own experiences as a victim of McCarthyism in his next film, the British-made A King in New York (1957). Satirizing the very witch hunts that had sent him into self-imposed exile, Chaplin fashioned a diatribe against the foibles of 1950s America that only occasionally managed to nail its target. (Ironically, the film was not released in the United States until 1973.)
While an anthology titled The Chaplin Revue (comprising the shorts A Dog’s Life , Shoulder Arms , and The Pilgrim ) was being given a theatrical release in the United States in 1959, Chaplin began work on his memoirs. My Autobiography (1964) provided a great deal of information about Chaplin’s childhood and rise to stardom but was less forthcoming about his work and adult life. Nevertheless, the warm reception it was accorded made another film project viable.
The passing of a full decade since A King in New York and the radical change in the political climate of the United States ensured that there was much anticipation surrounding A Countess from Hong Kong (1967), a British-made romantic comedy starring Marlon Brando and Sophia Loren, the biggest names he had worked with since he himself was a premier box-office draw. However, it proved to be a critical and commercial disappointment.
In his last years Chaplin was accorded many of the honours that had been withheld from him for so long. In 1972 he returned to the United States for the first time in 20 years to accept a special Academy Award for “the incalculable effect he has had on making motion pictures the art form of this century.” It was a bittersweet homecoming. Chaplin had come to deplore the United States, but he was visibly and deeply moved by the 12-minute standing ovation he received at the Oscar ceremonies. As Alistair Cooke described the events,
Chaplin made one of his final public appearances in 1975, when he was knighted. Several months after his death, his body was briefly kidnapped from a Swiss cemetery by a pair of bungling thieves—a macabre coda that Chaplin might have concocted for one of his own two-reelers.