Film Review: Limelight

 "Limelight"

*** (out of ****)

Charlie Chaplin's "Limelight" (1952) is a testament of a great artist's views on mortality, love and art.

"Limelight" wasn't Chaplin's final film but it has the makings of a final statement. Of an artist taking his last bow before the curtain closes.

Naturally such a statement was met with derision in America when the film was released in the 1952 - it didn't even receive a wide release. It turned out to be Chaplin's last American film as he was condemned to a 20 year unofficial government exile for being believed to be a communist. But even today the film continues to be greeted by those that ridicule it and judge it as nothing more than sentimental hogwash.

Chaplin has created a kind of visual diary - a thin plot with the sole objective of allowing the great artist the opportunity to philosophize on the issues of love, life, death and art. I don't use the word "philosophize" in a derogatory way as some may interpret to mean Chaplin expresses his views with a pompous, pretentious attitude. I can somewhat understand that viewpoint but first of all, by 1952 Charlie Chaplin had more than earned the right to take a moment and self-reflect on his career in any damn way he pleased! It has been said of Chaplin he was at one time the most recognizable figure in the world! His character - The Tramp - was beloved world-wide. As for charges of being pretentious, "Limelight" is a poetic piece of work. It is not meant to be a "realistic drama". The dialogue isn't meant to have a naturalistic quality to it - having characters speak the way "everyday people" do. If you can't accept that, you'll never be able to embrace the film and merely believe all Chaplin is doing is "moral preaching". But does "Limelight" have any more "moral preaching" than what is found in the works of D.W. Griffith or Cecil B. DeMille? Does it have any more "moral preaching" than American films made during WW2 meant to inspire patriotic pride within us?

I'm of a different breed than most American movie audiences. I like self-reflective character studies. "Limelight" is made from the same cloth as films like Ingmar Bergman's "Wild Strawberries" (1959) and Anthony Asquith's "The Browning Version" (1951) or great works from filmmakers like Michelangelo Antonioni and Theo Angelopoulos - reflective films commentating on man and his relationship to his surroundings and the importance of art. By the very existence of The Tramp, Chaplin too made commentaries on the human condition. The character was symbolic of the lonely outsider. A reminder of poverty and the downtrodden. Watch "The Immigrant" (1917), "The Kid" (1920) and "Modern Times" (1936) as examples. As sound movies became unavoidable - Chaplin resisted making "talkies" - he used dialogue not so much for comedy - writing funny one-liners - but to comment on the issues of the day. "The Great Dictator" (1940), "Monsieur Verdoux" (1947) and "A King in New York" (1957) are statements about WW2 and its aftermath and the promise of what America can be. The dialogue in those films is just as "preachy" as "Limelight".

"Limelight" is a tale of two damaged souls - one a comedian known by the name Calvero (Chaplin) and the other a young dancer named Terry (Claire Bloom). Calvero was a once famous music hall comedian known for playing a Tramp character. His star has faded as alcoholism has taken over. He believes he simply can't be funny without having a few drinks before a performance but now no one wants to work with him. His agent informs him his name is poison. Calvero has become what all performers fear most - an artist that has lost his connection to the audience. This is perfectly illustrated in a dream sequence with Calvero performing one of his routines to an empty music hall. When he realizes the situation Calvero looks out at the empty seats with a facial expression filled with panic, anxiety and dread. The camera gets a close-up of Calvero's face and dissolves to present day Calvero awaken from his nightmare with the same facial expression. How the mighty have fallen!  

Terry was a ballet dancer that was diagnosed with rheumatic fever. When Calvero meets her she has attempted to commit suicide in her apartment. It is a drunken Calvero - who lives in the same building - who rescues her. She has sworn off dancing claiming she is too sick. It is Calvero who will nurse her to health thus creating a story of two weak people who will find strength through each other. By meeting Terry, Calvero stops drinking and begins to think about making a comeback, formulating comedic routines in his head.

In another dream sequence, Calvero, after meeting Terry, dreams of the two of them in a skit together about spring and love. I don't interpret this sequence as suggesting Calvero is falling in with with Terry but I do believe it is meant to suggest a new vitality has been awaken in Calvero. He now has something to live for. However, in a kind of reverse Florence Nightingale syndrome - transference - Terry believes she has fallen in love with Calvero. Younger viewers needn't fear. "Limelight" doesn't become a love story between the two of them. Although their age difference is meant to signify a kind of rite of passage, as indicated in the film's opening intertitle - "The glamour of limelight, from which age must pass as youth enters." In  "A Star Is Born"-ish fashion, as one of their stars begins to rise, the other begins to fade and must rely on the other's strength. When Terry is finally strong enough to start acting she tries to get Calvero a job in a ballet she has the starring role in. 

We can see how all of this may be somewhat autobiographical. The movie takes place in 1914 London. That year is significant in the life of Chaplin because that was the year he made his first film appearance - "Making a Living" - and of course Chaplin was English not American. He grew up in poverty and started off as a music hall comedian before touring in America as part of Fred Karno's troupe. Unfortunately, as sound movies became the normal, Chapin did begin to slowly lose his audience. While "The Great Dictator" - his first complete sound film - did garner much box-office success and critical support - it earned five Academy Award nominations - his following films began to divide audiences. By this point Chaplin had "retired" his Tramp character, no longer playing baggy pants characters. This may have been too much for audiences to accept in addition to his social commentaries. 

I, however, enjoy Chaplin's commentaries in all of his movies. It helps audiences understand Chaplin the man and how his worldview influenced his films. This is insightful. And as for the way Chaplin expresses himself - meaning his choice of dialogue - it is pleasurable, if at times heavy-handed - to listen to. Chaplin has great wisdom to share. If some social circles don't find him to be eloquent or intellectual, at the very least Chaplin proves himself to be a great humanitarian. As for his intellect, I find him more profound to listen to than most other comedians ranging from Jerry Lewis to Jerry Seinfeld.

"Limelight", perhaps more directly than other Chaplin films, demonstrates how dark his movies could be. I often feel alone on an island when I tell people part of Chaplin's genius was his ability to find humor in human tragedy. "Limelight" shows us the relationship between laughter and tears. Just beneath the joke is suffering. Go back and watch "The Kid", "The Gold Rush" (1925) and "City Lights" (1931). Pay attention to the desperation of the characters. There's a belief among some that only when you suffer do you have truly have something important to say as an artist. Look at what Chaplin spent a career commenting on - the working class, poverty, love, war, peace, greed and the ideals of American values. Compare that to Seinfeld telling jokes about Superman and cereal. The difference is obvious. Seinfeld, whom I do admire and saw perform in person - came from a nice suburban middle-class life. What about the human condition can he comment on?

If "Limelight" is known for anything it would have to be for the only on-screen pairing between two silent comedy legends - Chaplin and Buster Keaton. The two men perform a skit near the end of the film as two musicians who bungle their musical duet. Keaton, sitting at the piano has great difficulty arranging his music sheets and keeping his piano in tune while Chaplin is not only breaking his violin strings but amazingly finds himself shrinking on stage! Appropriately, outside of some sound effects and background music, the sequence is silent. 

Much has been written about this sequence and some of the Hollywood myths and rumors have been dispelled such as Chaplin harboring jealousy towards Keaton and left his funniest moments on the cutting room floor. And contrary to popular belief the two men were friendly. Keaton even acknowledged Chaplin was the greatest comedian in his autobiography. And by even casting Keaton in role - Keaton's career had sadly fallen on hard times - could be viewed as a sign of friendship on Chaplin's part.

While much has been written about Keaton appearing in the movie, what I haven't come across in any review is mention of the fact Snub Pollard also appears in this movie. While I concede the fact the appearance of Buster Keaton is a far more momentous occasion for critics to write about I must admit the old Hungarian cynic in me believes critics also didn't mention it because they don't know who Snub Pollard was! For a movie blog focused on film history and given my appreciation for silent screen comedy, it would be terribly neglectful of me if I didn't mention Pollard's appearance as one of the street musicians (the pianist). Pollard was a comedian - known for his trademark moustache - whose work dates back to 1911 when he appeared in Keystone Kops comedies for producer Mack Sennett. He and Chaplin shared the screen in "By the Sea" (1915) and would also appear with Harold Lloyd. Much like the Calvero character in "Limelight", comics like Pollard, Chester Conklin, Ford Sterling and Ben Turpin, achieved fame in the early days of screen comedy only to become completely forgotten. You can see them sometimes in small bit roles often uncredited in films from the 1930s and 40s.

Although "Limelight" didn't initially receive a wide theatrical release, in 1972 there was a Chaplin retrospective underway as the Academy Awards was going to honor Chaplin with a Lifetime Achievement Award. It would mark the end of Chaplin's 20 year exile as he agreed to accept the award in person. "Limelight" would finally get a proper release and was even nominated for an award for its musical score. Which it won!

"Limelight" is a tender and yes sentimental film that audiences should find rewarding. Chaplin, as usual, is able to create that delicate balance between comedy and pathos. This is an insightful film that I believe has aged quite well. And what a pleasure to see Chaplin and Keaton on-screen together!