Word: chaplin
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Fields was using Baby LeRoy's posterior to administer a blunt point of protest about the prevailing school of American movie acting, juvenile division. Chaplin had done his best to counter cuteness and establish a kind of enhanced naturalism when he cast Jackie Coogan...
...satisfied to use the camera merely as a vehicle to record physical gags, comic facial expressions and amusing dialogue. Despite the risk of reducing his popularity with movie fans, Allen courageously broke with this former concept of film comedy and revived the style exemplied by the best works of Chaplin and Keaton which, at times, emphasized aesthetic considerations to the detriment of box-office success. In Manhattan Allen demonstrates his growth from entertaining performer to genuine film auteur, yet maintaining his bond with millions of movie-goers. Contrary to all expectations, current reports confirm that Manhattan is booming...
...specific cinematic devices which convey the film's content and message in a cinematic way. Accordingly, Interiors marks the crucial point in Allen's directorial evolution, expressing much of the script's meaning through purely auditory/visual means instead of via dramatic situations, mise-en-scene, dialogue and acting. Like Chaplin (in A Woman of Paris ), Allen, too, decided not to participate as an actor in Interiors, a decision which permitted him to concentrate on directing the film. In a further parallel, while Chaplin appropriated certain stylistic features of the "Lubitsch Touch," Allen conceived his film as an homage to Ingmar...
...contrast to Jacques Tati and Pierre Etaix who explore the present potential of silent comedy gags, Allen blazes the trail for a renaissance of sound film comedy. He is rapidly approaching the point when-it is my hope-we will be able to say that Allen is the Chaplin of our time...
...successor, however, never really developed. By then Pickford had become a Hollywood mogul as well as a star. In 1919 she joined with Fairbanks, Griffith and Charlie Chaplin to form United Artists. For years she had a firm hand in the running of the company. Her fortune was ultimately some $50 million, much of it from real estate. Unlike Douglas Fairbanks, she was frightened by the mass adulation that greeted their public appearances. It was unprecedented, the need of the public to touch these images when they appeared in the flesh. He thrived on it and restlessly roamed the globe...