"Limelight"

I have traced Chaplin's history as a screen artist, dealing with the films I have seen. I saw the Charlie of "The Gold Rush" and "City Lights" in the full bloom of his creation, then I saw Chaplin gradually overcoming Charlie until In "Monsieur Verdoux" he had almost disappeared. I watched Chaplin's development as a humanist, and I realised that his coming maturity demanded a voice. I have not deal with technical considerations because of lack of space and a purposeful intent to wait until I came to "Limelight," Chaplin's latest creation. For in "Limelight" his technical brilliance is best demonstrated. In fact, this film is the fine, full-flowering of Chaplin, not only as a technician, but also as an artist.

I wouldn't be surprised if "Limelight" doesn't go down in history as the most misunderstood and under-rated film of the century. I have yet to see a Press criticism that does not condemn it as being cither dull, self-conscious, unfunny or technically imperfect. (I admit my reading has been narrow.) Many of Chaplin's admirers have been disappointed, others bewildered. This. I think is largely due to a failure to understand that "Limelight" is not an isolated work, with Chaplin playing a somewhat serious part in a somewhat serious film. It is easier to understand "Limelight" and to begin to see its countless and often unexplainable beauties and subtleties, and the artistry of its presentation, when it is analysed in its relation to Chaplin's total work, which Is itself the exact expression of his own reaction to the experiences and feelings of his own life. And of course, critics must forget the traditional belief that Chaplin Is always funny. Failure in this may cause the essential philosophy of this film to be overlooked or avoided.

The broad theme of "Limelight" Is that of an ageing music hall comedian who wants to make a comeback, but has lost his confidence and is haunted by the fear that he can no longer get the laughs. It Is during this "melancholy [unclear: twilight]" of his career that he rescues a youthful dancer from suicide, gives her a new vitality and a will that takes her to the top of the ladder of success. Success, the vitality of youth and failure weariness and loneliness of age—that is the antithesis of "Limelight." Calvero the fading comedian, plunging himself further into despair, as he sees the full flower of the young dancer that he rescued, come to life.

There is supreme pathos in "Limelight." The drink-sodden comic; the years of failure have turned him into a philosopher. He strengthens the girl with his talk of life and desire ("Desire is the theme of all life") but we all know that at the bottom of his heart, Calvero finds it a struggle to believe what he is saying-Terry, the dancer, wins through with Calvero's help of laughter and philosophy ("To hoar you talk no one would think you were a comedian.") but only to find she must give emotional support to Calvero. For him at that stage of the game "life begins to be something of a habit." "The trouble with the world," he says, "is that we all despise ourselves." "Life isn't a gag anymore. I can't see a Joke." Calvero is weary, frightened of failure.

And Chaplin himself has been haunted by failure. We have learnt a lot from Samuel Goldwyn, the Hollywood friend of Chaplin. He always received Chaplin's confessions of dread. "You know, Sam if 'City Lights' is a failure. I believe it will strike a deeper blow than anything.