Frame Study of Charlie Chaplain's Films

 Frame Study of 'Modern Times' and 'The Great Dictator'

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Charlie Chaplin's movies "Modern Times" (1936) and "The Great Dictator" (1940) abound with visual narration reflecting socio-political reality in early 20th-century America. Here, I put several frames from each film in relation to the issues of industrialization, dehumanization, and totalitarianism as well as the socio-political context A. C. Ward described in "The Setting" of the 20th Century.

‘Modern Times (1936)’

“Modern Times” is Chaplin’s self-conscious valedictory to the pantomime of silent film he had pioneered and nurtured into one of the great art forms of the twentieth century. Although technically a sound film, very little of the soundtrack to “Modern Times” contains dialogue. The soundtrack is primarily Chaplin’s own musical score and sound effects, as well as a performance of a song by the Tramp in gibberish. This remarkable performance marks the only time the Tramp ever spoke

Frame 1: The Tramp caught in the gears of the machine

In This scene shows the Tramp, Chaplin's character, literally being engulfed by the gigantic machinery of the factory. This visual metaphor emphasizes the dehumanizing effects of industrialization where workers are reduced to mere cogs in a relentless, mechanized system. The scale of the machinery versus the individual underscores the loss of personal agency and identity in the face of rapid technological advancement.

 

Frame 2: The Tramp struggling with the feeding machine

The Tramp is placed in front of an efficient feeding machine set up to eliminate lunch time. The broken device eventually becomes the source of his physical comedy but also gives way to a commentary on this period's obsession with productivity above human need and dignity. Such a scene reflects the madness of the technological solution that degrades and disregards man's elementary needs and dignity. 

‘Great Dictator (1940)’

 “The Great Dictator” in which he satirized Hitler and called out the fascist ideologies of the world in order to ignite the fighting spirit of Western civilization. Near the end of the movie, Chaplin’s character, known only as “the barber,” was forced into giving an impromptu speech that turned out to be one of the most inspiring speeches for a nation in such a state of distress. 

Frame 1: Hynkel dancing with the globe balloon

This caricature scene depicts Chaplin as Adenoid Hynkel, Adolf Hitler parody, dancing with a giant balloon globe which he handles and caresses in play. This depicts the dictator's megalomania and delusion that seeks to dominate the entire world. The vulnerable balloon indicates the vulnerability of the world to the dictatorial masters whose grand plans stand a threat to international peace.

Frame 2: The Jewish Barber's final speech

In the final moments of the film, the Jewish Barber, mistaken for Hynkel, delivers a heartfelt speech advocating for peace, democracy, and humanity. In a direct address to the camera, Chaplin breaks the fourth wall to directly speak to the audience, condemning hatred and intolerance. This moment represents a powerful plea for universal brotherhood and a denunciation of the totalitarian ideologies that had brought the world to its knees. 

Reflections of a Changing Society:

 A.C. Ward's Insights and Chaplin's Cinematic Critique in ‘Modern Times’ and ‘The Great Dictator’

“Modern Times” reflects the anxieties of the Great Depression, where mass unemployment and the rise of industrial automation led to widespread fear of job displacement and economic instability. The film critiques the dehumanization inherent in treating workers as mere extensions of machines, a concern prevalent in A. C. Ward's discussions of early 20th-century industrial society.

Chaplin's critique in Modern Times of industrial labor's dehumanizing effect, where workers are reduced to mere cogs in a machine, exemplified by his character's struggle on the assembly line. As  A. C. Ward described in ‘The Setting’,

“Throughout the period between the two world wars, the growth of mass production methods in industry created deep concern among sociologists who recognised that a lifetime of work on assembly-line processes was destructive of interest in the objects produced and a threat of death to craftsmanship.”

“The Great Dictator” speaks to the rise of fascism and the shadow of World War II. Through satire, Chaplin denounces totalitarianism and its dangers of unfettered power and persecution of minorities. His film's release in 1940, as America was not yet plunged into war, was bold testimony against isolationism, to recognize shared humanity as well as beyond political barriers.

Chaplin's satire of authoritarian regimes in The Great Dictator mirrors this concern, showcasing the dangers of propaganda and the mass exploitation of ideology for dictatorial purposes. As A. C. Ward described in ‘The Setting’,

“All that could be said currently was that the ease with which the mass manipulation of youth could be organised had been shown in such movements as the Hitler Youth and similar political bodies elsewhere.”

Chaplin’s closing speech passionately advocates for liberty, truth, and human dignity, rejecting authoritarian oppression this aligns with Ward’s lines,

“As the European scene darkened, and oppression, cruelty, murder, and the breaking of solemn engagement became common form, a long crescendo of protest and denunciation arose... It became a conviction among the younger school of writers that, with liberty, truth and honour imperiled, no art could justify itself except as the handmaid of politics.”

Theme of Socio-Political Realities

As in Hard Times by Dicken It is set during the industrial revolution in England and focuses on the dehumanizing effects of industrialization, particularly in factories. The novel critiques a society that values "facts" over imagination, emotion, and human connection.

Similarly in ‘Modern Times’ Charlie criticizes mechanization and dehumanization in factories, where workers turn into cogs in a great machine. Chaplin's Tramp character is often made to struggle with the mechanical drudgery of work and the absurdity of the industrial world. Factory work is shown as both physically exhausting and soul-crushing.

References:-

Carlson, Buster. “Rhetorical Analysis of “The Great Dictator” Speech | by Buster Carlson.” Medium, 2 October 2018, https://medium.com/@busterbcarlson/rhetorical-analysis-of-the-great-dictator-speech-89f4599fe035 . Accessed 22 December 2024.

Eggert, Brian, and Richard Schickel. “The Great Dictator (1940) | The Definitives.” Deep Focus Review, 4 July 2018, https://www.deepfocusreview.com/definitives/the-great-dictator/?utm_source .com. Accessed 22 December 2024.

“The Great Dictator: The film that dared to laugh at Hitler.” BBC, 5 February 2021, https://www.bbc.com/culture/article/20210204-the-great-dictator-the-film-that-dared-to-laugh-at-hitler . Accessed 23 December 2024.

Jeffrey, Vance. “Modern Times.” p. 01, https://www.loc.gov/static/programs/national-film-preservation-board/documents/modern_times.pdf . Accessed 22 December 2024.

. Accessed 22 December 2024.