Celebrates Charlie Chaplin's 122nd Birthday | The Magic of Charlie Chaplin’s Movies
In The video also shows the Google a woman painted ornament behind Charlie Chaplin’s body. Charlie Chaplin's uniqueness also comes through popular music in the 90s.
Charlie Chaplin was born on April 16, 1889 and died December 25, 1977. Although his birthday tomorrow, when accessed Google.com already displays special Google Doodle. Chaplin using the expression, slapstick and visual comedy as another way of describing comedy than sounds.
Popular movies of Charlie Chaplin including 'The Tramp' and 'Kid Auto Races at Venice' in 1914.
Beginning of his career
When he was about fourteen, he got his first chance to act in a legitimate stage show, and appeared as “Billy” the page boy, in support of William Gillette in “Sherlock Holmes”. At the close of this engagement, Charlie started a career as a comedian in vaudeville, which eventually took him to the United States in 1910 as a featured player with the Fred Karno Repertoire Company.
He scored an immediate hit with American audiences, particularly with his characterization in a sketch entitled “A Night in an English Music Hall”. When the Fred Karno troupe returned to the United States in the fall of 1912 for a repeat tour, Chaplin was offered a motion picture contract.
A Woman of Paris (1923)
was a courageous step in the career of Charles Chaplin. After seventy films in which he himself had appeared in every scene, he now directed a picture in which he merely walked on for a few seconds as an unbilled and unrecognisable extra – a porter at a railroad station. Until this time, every film had been a comedy. A Woman of Paris was a romantic drama. This was not a sudden impulse. For a long time Chaplin had wanted to try his hand at directing a serious film. In the end, the inspiration for A Woman of Paris came from three women. First was Edna Purviance, who had been his ideal partner in more than 35 films. Now, though, he felt that Edna was growing too mature for comedy, and decided to make a film that would launch her on a new career as a dramatic actress.
The Gold Rush (1925)
Chaplin generally strove to separate his work from his private life; but in this case the two became inextricably and painfully mixed.
Searching for a new leading lady, he rediscovered Lillita MacMurray, whom he had employed, as a pretty 12-year-old, in The Kid Still not yet sixteen, Lillita was put under contract and re-named Lita Grey.
Chaplin quickly embarked on a clandestine affair with her; and when the film was six months into shooting, Lita discovered she was pregnant. Chaplin found himself forced into a marriage which brought misery to both partners, though it produced two sons, Charles Jr and Sydney Chaplin.
The Circus (1928)
“The Circus” won Charles Chaplin his first Academy Award – it was still not yet called the ‘Oscar’ – he was given it at the first presentations ceremony, in 1929. But as late as 1964, it seemed, this was a film he preferred to forget. The reason was not the film itself, but the deeply fraught circumstances surrounding its making.
Chaplin was in the throes of the break-up of his marriage with Lita Grey; and production of The Circus coincided with one of the most unseemly and sensational divorces of twenties Hollywood, as Lita’s lawyers sought every means to ruin Chaplin’s career by smearing his reputation.
As if his domestic troubles were not enough, the film seemed fated to catastrophe of every kind [...]
In the late 1960s, after the years spent trying to forget it, Chaplin returned to “The Circus” to re-release it with a new musical score of his own composition. [...] It seemed to symbolize his reconciliation to the film which cost him so much stress.
City Lights (1931)
“City Lights” proved to be the hardest and longest undertaking of Chaplin’s career. By the time it was completed he had spent two years and eight months on the work, with almost 190 days of actual shooting. The marvel is that the finished film betrays nothing of this effort and anxiety. Even before he began City Lights the sound film was firmly established.
This new revolution was a bigger challenge to Chaplin than to other silent stars. His Tramp character was universal. His mime was understood in every part of the world. But if the Tramp now began to speak in English, that world-wide audience would instantly shrink.
Chaplin boldly solved the problem by ignoring speech, and making City Lights in the way he had always worked before, as a silent film. However he astounded the press and the public by composing the entire score for “City Lights”.
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