Charlie Chaplin
Birth
name
Charles Spencer Chaplin
Born 16 April 1889(1889-04-16)
好情感>笔架山在哪里Walworth, London, England, United Kingdom
Died 25 December 1977(1977-12-25) (aged 88) Vevey, Switzerland
Spou Mildred Harris 1 child Lita Grey 2 children Paulette Goddard Oona O'Neill 8 children
Sir Charles Spencer Chaplin, usually called as” Charlie" Chaplin, KBE was an English comic actor, film director and compor best known for his work during the silent film era.[2] He became the most famous film star in the world before the end of World War I. Chaplin ud mime, slapstick and other vis
ual comedy routines, and continued well into the era of the talkies, though his films decread in frequency from the end of the 1920s. His most famous role was that of The Tramp, which he first play ed in the Keystone comedy Kid Auto Races at Venice in 1914.[3] From the April 1914 one-reeler Twenty Minutes of Love onwards he was writing and directing most of his films, by 1916 he was also producing them, and from 1918 he was even composing the music for them. With Mary Pickford, Douglas Fairbanks and D. W. Griffith, he co-founded United Artists in 1919.[4]
Chaplin was one of the most creative and influential personalities of the silent-film era. He was influenced by his predecessor(可以当做向他人学习的例子) ,the French silent film comedian Max Linder, to whom he dedicated one of his films.[5] His working life in entertainment spanned over 75 years, from the Victorian stage and the music hall in the United Kingdom as a child performer, until clo to his death at the age of 88. His
电影院英语怎么说high-profile public and private life encompasd both adulation and controversy. Chaplin was identified with Left-wing politics during the McCarthy era and he was ultimately forced to rettle in Europe from 1952.
In 1999, the American Film Institute ranked Chaplin the 10th greatest male screen legend of all time.
[6] In 2008, Martin Sieff, in a review of the book Chaplin: A Life, wrote:"Chaplin was not just 'big', he was gigantic. In 1915, he burst onto a war-torn world bringing it the gift of comedy, laughter and relief while it was tearing itlf apart through World War I. Over the next 25 years, through the Great Depression and the ri of
Adolf Hitler, he stay ed on the job. ... It is doubtful any individual has ever given more entertainment, pleasure and relief to so many human beings when they needed it the most".[7] George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".[8]
Biography
Early life in London (1889–1909)
A photograph of Chaplin taken in the United States during his youth(改变自己的例子？)
His parents were entertainers in the music hall tradition; his father, Charles Spencer Chaplin, Sr., was a vocalist and an actor, while his mother, Hannah Chaplin (née Hannah Harriet Pedlingham Hill), was a singer and an actress who went by the stage name Lilly Harley.[13] They parated before Chaplin was three.（父母，他人对自己的影响）He learned singing from his parents.
南京财经大学是211吗
In 1903 Chaplin cured the role of Billy the pageboy in Sherlock Holmes. Saintsbury took Chaplin under his wing and taught him to marshal his talents. In 1905 Gillette came to England with Marie Doro to debut his new play, Clarice, but the play did not go well. When Gillette staged his one-act curtain-rair, The Painful Predicament of Sherlock Holmes as a joke on the British press, Chaplin was brought in from the provinces to play Billy. When Sherlock Holmes was substituted for Clarice, Chaplin remained as Billy until the production ended on 2 December. During the run, Gillette coached Chaplin in his restrained acting style. Acting in Sherlock Holmes entitled Chaplin to a West End actor's pass for the funeral of Britain's most respected Shakespearean actor, Sir Henry Irving, which he attended, sitting next to the actor Lewis Waller.[23] It was during this engagement that the teenage Chaplin fell hopelessly in love with Doro, but his love went unrequited and Doro returned to America with Gillette when the production clod.[24]They met again in Hollywood eleven years later.
She had forgotten his name but, when introduced to her, Chaplin told her of being silently in love with her and how she had broken his young heart. Over dinner, he laid it on thick about his unrequited love. Nothing came of it until two years later, when they were both in New York and she invited him to dinner and a drive. Instead, Chaplin noted, they simply ―dined quietly in Marie’s apartment alone.‖ However,as Kenneth Lynn pointed out, ―Chaplin would not have been Chaplin if he had simply dined quietly with Marie.‖[25]
The Tramp (1914–1915)
The Tramp debuted during the silent film era in the Keystone comedy Kid Auto Races at Venice (relead on 7 February 1914). However, Chaplin had devid the tramp costume for a film produced a few days earlier but relead later (9 February 1914), Mabel's Strange Predicament. Mack Sennett had requested that Chaplin "get into a comedy make-up".[31] As Chaplin recalled in his autobiography:
I had no idea what makeup to put on. I did not like my get-up as the press reporter [in Making a Living]. However on the way to the wardrobe I thought I would dress in baggy pants, big shoes, a cane and a derby hat. I wanted everything to be a contradiction: the pants baggy, the coat tight, the
幼儿园消防培训hat small and the shoes large. I was undecided whether to look old or young, but remembering Sennett had expected me to be a much older man, I added a small moustache, which I reasoned, would add age without hiding my expression.
I had no idea of the character. But the moment I was dresd, the clothes and the makeup made me feel the person he was. I began to know him, and by the time I walked on stage he was fully born.[32]
"The Tramp" is a vagrant with the refined manners, clothes, and dignity of a gentleman. Arbuckle contributed his father-in-law's bowler hat ('derby') and his own pants (of generous proportions). Chester Conklin provided the little cutaway tailcoat, and Ford Sterling the size-14 shoes, which were so big, Chaplin had to wear each on the wrong foot to keep them on. He devid the moustache from a bit of crepe hair belonging to Mack Swain. The only thing Chaplin himlf owned was the whangee cane.[31]
焊接实习报告Chaplin, with his Little Tramp character, quickly became the most popular star in Sennett's company of players. He immediately gained enormous popularity among cinema audiences. "The Tramp", Chaplin's principal character, was known as "Charlot" in the French-speaking world, Italy, Spain, And
orra, Portugal, Greece, Romania and Turkey, "Carlitos" in Brazil and Argentina, and "Der Vagabund" in Germany.
The Tramp was cloly identified with the silent era, and was considered an international character; when the sound era began in the late 1920s, Chaplin refud to make a talkie featuring the character. （改变&坚持）The 1931 production City Lights featured no dialogue. Chaplin officially retired the character in the film Modern Times (relead 5 February 1936), which appropriately ended with the Tramp walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song.
Pioneering film artist and global celebrity (1916–1918)
In 1916, the Mutual Film Corporation paid Chaplin US$670,000 to produce a dozen
two-reel comedies. He was given near complete artistic control, and produced twelve films
over an eighteen-month period that rank among the most influential comedy films in all cinema. Of hi
s Mutual comedies, the best known include: Easy Street, One A.M., The Pawnshop, and The Adventurer. Edna Purviance remained the leading lady, and Chaplin added Eric Campbell, Henry Bergman, and Albert Austin to his stock company; Campbell, a Gilbert and Sullivan veteran, provided superb villainy, and cond bananas Bergman and Austin would remain with Chaplin for decades. Chaplin regarded the Mutual period as the happiest of his career, although he also had concerns that the films during that time were becoming formulaic owing to the stringent production schedule his contract required. Upon the U.S. entering World War I, Chaplin became a spokesman for Liberty Bonds with his clo friend Douglas Fairbanks and Mary Pickford.[30]
Most of the Chaplin films in circulation date from his Keystone, Essanay, and Mutual periods. After Chaplin assumed control of his productions in 1918 (and kept exhibitors and audiences waiting for them), entrepreneurs rviced the demand for Chaplin by bringing back his older comedies. The films were recut, retitled, and reissued again and again, first for theatres, then for the home-film market, and in recent years, for home video. Even Essanay was guilty of this practice, fashioning "new" Chaplin comedies from old film clips and out-takes. The twelve Mutual comedies were revamped as sound films in 1933, when producer Amadee J. Van Beuren added new orchestral scores and sound effects.
At the conclusion of the Mutual contract in 1917, Chaplin signed a contract with First National to produce eight two-reel films. First National financed and distributed the pictures (1918–23) but otherwi gave him complete creative control over production. Chaplin now had his own studio, and he could work at a more relaxed pace that allowed him to focus on quality. Although First National expected Chaplin to deliver short comedies like the celebrated Mutuals, Chaplin ambitiously expanded most of his personal projects into longer, feature-length films, including A Dog's Life (1918), Shoulder Arms (1918), The Pilgrim (1923) and the feature-length classic The Kid (1921).
United Artists (1919–1939)
In 1919, Chaplin co-founded the United Artists film distribution company with Mary Pickford, Douglas Fairbanks and D. W. Griffith, all of whom were eking to escape the growing power consolidation of film distributors and financiers in the developing Hollywood studio system. This move, along with complete control of his film production through his studio, assured Chaplin's independence as a film-maker. He rved on the board of UA until the early 1950s.
All Chaplin's United Artists pictures were of feature length, beginning with the atypical drama in which Chaplin had only a brief cameo role, A Woman of Paris (1923). This was followed by the classic comedies The Gold Rush (1925) and The Circus (1928).
After the arrival of sound films, Chaplin continued to focus on silent films with a synchronid recorded score, which included sound effects and music with melodies bad in popular songs or compod by him;[37]The Circus (1928), City Lights (1931), and
Modern Times (1936) were esntially silent films. City Lights has been praid for its mixture of comedy and ntimentality. Critic James Agee, for example, wrote in Life magazine in 1949 that the final scene in City Lights was the "greatest single piece of acting ever committed to celluloid".
哪些食物去湿气比较好
团队士气Chaplin and Jackie Coogan in The Kid (1921)
While Modern Times (1936) is a non-talkie, it does contain talk—usually coming from inanimate objects such as a radio or a TV monitor. This was done to help 1930s audiences, who were out of the habit of watching silent films, adjust to not hearing dialogue. Modern Times was the first film where Chaplin's voice is heard (in the nonn song at the end, which Chaplin both performed and wrote the nonn lyrics to). However, for most viewers it is still considered a silent film.
Although "talkies" became the dominant mode of film making soon after they were introduced in 1927, Chaplin resisted making such a film all through the 1930s. He considered cinema esntially a pantomimic art. He said: "Action is more generally understood than words. Like Chine symbolism, it will mean different things according to its scenic connotation. Listen to a description of some unfamiliar object—an African warthog, for example; then look at a picture of the animal and e how surprid you are".[38]
It is a tribute to Chaplin's versatility that he also has one film credit for choreography for the 1952 film Limelight, and another as a singer for the title music of The Circus (1928). The best known of veral songs he compod are "Smile", compod for the film Modern Times (1936) and given lyrics to help promote a 1950s revival of the film, famously covered by Nat King Cole. "This Is My Song" from Chaplin's last film, A Countess from Hong Kong, was a number one hit in veral different languages
in the late 1960s (most notably the version by Petula Clark and discovery of an unrelead version in the 1990s recorded in 1967 by Judith Durham of The Seekers), and Chaplin's theme from Limelight was a hit in the 1950s under the title "Eternally." Chaplin's score to Limelight won an Academy Award in 1972; a delay in the film premiering in Los Angeles made it eligible
