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Post by callipygias on Jan 21, 2011 13:34:21 GMT -5
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Post by angilasman on Jan 21, 2011 16:36:13 GMT -5
I found out that Janus Films/Criterion are the current rights holders of the Chaplin films, but are taking a slowly but surely route with the releases. So far only Modern Times has been released on DVD and BluRay. They're also doing film screenings of his movies.
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Post by solgroupie on Jan 23, 2011 3:52:34 GMT -5
As if anyone could need another reason to visit Ireland, along comes a BIGGIE. I hope in a hundred years, "The Oscar goes to..." is replaced by, "The Charlie goes to...." amazing. how wonderful for ireland to do this - chaplin took his family there every year and he loved it there. this should have been done years ago. it’s been a while since i last talked about a film of chaplin’s. i got distracted by the keystones, which i am still watching. but limelight is too beautiful a film to ignore for very long. it was the last film chaplin would make in the united states, which had been his home since he joined keystone in 1916. limelight was released in 1952, and as you know if you have kept up with this thread, chaplin was on shaky ground with america by the time he started making limelight. mccarthyism was hitting a real peak at the time, and chaplin would soon find himself scorned, rather than loved by the same fans that had clamored for his movies for decades. despite chaplin’s belief in monsieur verdoux’s success, he said in his autobiography that verdoux barely paid for its own costs. those turning against chaplin began a vicious campaign to ensure the public would not see the movie. the catholic legion began picketing outside theaters with signs that read kick the alien out of the country, chaplin’s been a paying guest too long, and send chaplin to russia. the american legion joined forces, sending threatening letters that ended up forcing theaters to cancel showings of verdoux. chaplin in monsieur verdouxbut i don’t want to to mar limelight with what became one of, if not the darkest period in chaplin’s life. just know it was brewing. and because of it, limelight suffered - it was not truly appreciated until years later because of political paranoia. one of the finest things about limelight has to be the music. in the 18 months of preparation chaplin took prior to production, he composed twelve minutes of ballet music that truly is beautiful. in his autobiography, he spoke of what a thrill it was to experience the dancers dancing to the music he wrote. their names were andre eglevsky and melissa hayden. actually, the niece of melissa hayden was a member of a chaplin forum i used to frequent, and it was always a treat when she would talk about her memories of her aunt’s stories about her experience of working on limelight. i hope i am remembering this right, but i one time she said that melissa’s young daughter (i think the chaplin forum member’s mother) became friends with chaplin’s daughter, geraldine, who was around the same age. they played together during the filming and geraldine invited her new friend to her upcoming birthday party. but by that time the filming had been completed and the hayden’s were due to return to north carolina, where they lived. geraldine said that would be no problem - they would simply have a limo pick them up to bring them to the party - not realizing that would be a pretty long commute for a little girl to go from north carolina to california for a birthday party - even in a limo. speaking of geraldine, she appeared in limelight, along with her brother, michael and their two sisters, josie and vickie. they are in the very first few minutes of the film and are adorable. chaplin took his family with him when he was filming, no matter how large his brood grew. he had a real fear of kidnapping, so he could work better without worrying about his children. also, they came in handy if he thought a scene he was working on needed a kid in it, he would simply grab one of his own and put them in. another reason he liked to have his family nearby was chaplin’s need to have oona near him at all times. no matter what was going on, she was in the background - reading or knitting, but she had a calming influence on him that he needed. chaplin's kids in limelightchaplin’s friend, arthur laurents was the one who recommended claire bloom for the female lead in limelight. i love bloom’s story on that in the schickel doc - how out of the blue she got a telegram from someone asking her to send pictures of herself to chaplin for his next film. she said it was so unexpected and made her too afraid to do anything about it. a few days later she got another telegram, this time from chaplin himself, demanding to know where the pictures were. she sent the pictures and said from that moment on she wanted to be in limelight more than anything in the world. claire bloom and chaplin in limelightchaplin insisted she bring her mother with her when she flew to california. he made sure they were not left alone in those first meetings. gone were the days chaplin could discover a pretty young actress and bed her at the same time. it was a hard lesson for him to learn, but things were different for him now. once he had oona and their children he never felt the need to stray again. and the last thing he needed was another lawsuit. i always had the feeling, though, that if that were not the case, he would have had no trouble seducing claire bloom. like lita so many years before, she hero worshiped him. she also had great respect for him and says she still can’t believe she got to work with one of the greatest geniuses in film. chaplin with claire bloom in limelightchaplin’s youngest children were not the only members of the family to appear in limelight. his son sydney jr. played the important role of neville. charles chaplin jr. had a role as a clown in the ballet scene and wheeler dryden (i love that name) had a small part as a doctor. wheeler was a half brother to charlie and syd. his father was a canadian comic, but i’m not sure about how he and hannah got together. he was seven years older than chaplin and died in 1957. even oona did her part, other than watching from the background. in the scene where chaplin’s calvero lifts claire bloom’s terry from the bed and carries her outside of the apartment in the beginning of the film - it is supposed to be oona. chaplin used some of his old cronies in limelight, as well. tiny loyal underwood, harry crocker, tim durant and even edna purviance made it into the credits, though i have never seen her and am not sure she made it into the final print. one of the most recognized faces in limelight was buster keaton’s. by that time, buster had fallen on hard times and chaplin, who knew as well as anyone how precarious show business could be, hired him for the final comedy scene in limelight. it truly is something to see - these two comedy legends together at last. though they did appear in a publicity film in 1922 called seeing stars. keaton’s part was small, but very memorable. it adds so much to the film to see these two comic geniuses doing what they did best together. it is as close to an autobiographical film chaplin ever made. it was obviously a story close to his heart; one he felt the need to share with his audience, which he still needed in his life. chaplin and keaton in limelightup next, part II - we meet calvero and terry
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Post by solgroupie on Jan 27, 2011 15:41:08 GMT -5
part II limelight opens with the beautiful theme that chaplin composed for his final movie in america. of course, he had no idea at the time this would be the last time he would create a film from his own beloved studio. after the credits, these words appear on the screen: the glamour of limelight, from which age must pass as youth enters. and then it begins, “the story of a ballerina and a clown,” set in london in the year 1914, the year chaplin himself began his career. the camera zooms into a london flat, where a young woman is draped halfway across a bed, asleep. then the camera pans over to show you the open stove and the towel at the bottom of the door. this is terry, suicidal over her life of hardship and illness. outside, a drunken calvero stumbles to the same apartment building. before he can struggle upstairs, he smells the gas coming from terry’s first floor apartment. once he realizes the odor is not coming from the bottom of his shoe or his cheap cigar, he realizes what it is and lurches to the door, fumbling to attempt to open it. he sees something poking out of a hole in the door and when he dislodges it, he can smell the gas. galvanized into action, he begins to slam himself into the door until it gives way and he rushes in. he finds terry slumped on the bed and with drunken effort, he wrestles her body from the bed and stumbles out with her over his shoulder. once he puts her on the steps, he rushes out to find a doctor at a nearby pharmacy. chaplin with his half brother, wheeler dryden, who played terry's doctor in limelightafter the doctor turns the gas off in terry’s apartment, he and calvero slowly and awkwardly carry her up the two flights of stairs to calvero’s apartment. after putting her into the bed, calvero tries to coherently follow the doctor’s orders for water and towels. “how long have you known this girl?” the doctor asks. “about five minutes,” calvero replies. the doctor says she needs rest for a couple of days and will stay in touch with calvero to make sure she pulls through. he turns down calvero’s request for an ambulance for the girl, because an attempted suicide would mean an inquiry and jail time for her. chaplin with wheeler dryden and claire bloom in limelightterry wakes after the doctor leaves and asks calvero where she is. he explains what happened and how he and the doctor brought her to his apartment. “why didn’t you let me die?” she asks. “what’s your hurry?” calvero answers. he asks if she is in pain and she shakes her head. “that’s all that matters,” he says. “the rest is fantasy.” chaplin and claire bloomeon his way to the pharmacy for medicine for terry, calvero sneaks past the landlady, who is just discovering the broken door to terry’s apartment. she tells another woman with her that she knew terry was no good and she wouldn’t get her things back (including a place to live) until terry paid the four weeks of rent she owed. calvero manages to avoid the landlady (he’s late on his rent too), until she later peers in through his door’s keyhole and sees terry asleep on the bed. she barges in, but calvero escorts her out and they have words about terry in the hall. he tells her what happened, but she is unmoved. calvero scoffs at her worries of terry staying in his apartment, but since she has already rented terry’s flat, there is no other place for her to go. calvero says they could be man and wife for all anyone knew or cared. chaplin with marjorie bennett, who played the landlady in limelighthe checks on terry, who is still deeply asleep. he pulls a curtain and after getting into his pajamas, makes his bed on an old couch. he falls asleep to the music of a trio of street musicians playing below his window. up next in part III of limelight - calvero learns more about terry's life
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Post by angilasman on Feb 20, 2011 15:37:16 GMT -5
The cover for Criterion's next Chaplin bluray is arty:
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Post by callipygias on Feb 20, 2011 15:54:11 GMT -5
They gave Hitler top billing... it isn't even Hinkle, really. They could at least have put Chaplin's hat above his head.
Plissken could've done it better.
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Post by solgroupie on Mar 8, 2011 16:15:58 GMT -5
two scenes reenacted with legos -
modern times
the great dictator
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Post by mrmeadows on Mar 8, 2011 19:31:44 GMT -5
They gave Hitler top billing... it isn't even Hinkle, really. They could at least have put Chaplin's hat above his head. To be fair, it's designed to work either way. In fact, on Criterion's own page they have it displayed flipped, with the Blu-Ray sticker at the bottom (as if the intended way to display it is the "Chaplin" side up). criterion-production.s3.amazonaws.com/release_images/3274/565_BD_box_348x490.jpgI must say I'm quite excited about this release. Plissken could've done it better. Well, no argument there!
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Post by solgroupie on Mar 11, 2011 16:14:23 GMT -5
limelight, part III as calvero falls asleep to the sound of the songs from the street musicians below, it reminds me of the part in chaplin’s autobiography where he describes experiencing the same thing as a boy. after his mother was sent to an institution, sydney and an eight-year-old charlie were sent to live with charlie’s father and his wife. chaplin described that time as “the longest and saddest of my life.” he described an occasional passing concertina by his bedroom window on saturday nights, playing a highland march. he said it was accompanied with rowdy youths and giggling girls, which all seemed “ruthlessly indifferent to my unhappiness, yet as the music grew fainter into the distance, i would regret it leaving.” he also heard drunks walking home after closing time singing a popular song of the time: for old times’ sake don’t let our enmity live, for old times’ sake say you’ll forget and forgive, life’s too short to quarrel, hearts are too precious to break. shake hands and let us be friends for old times’ sake.as calvero falls asleep, the camera zooms in on a framed picture of himself hanging on the wall, wearing his old stage costume from his more successful days. we see calvero’s dream of his old act that at one time was very popular. he sings a funny song about his performing fleas and then brings out their box, which says: phyllis and henry - performing fleas. chaplin got the idea for an act of performing fleas decades before limelight. in 1919, thirty-three years before limelight, chaplin began a short titled the professor, in which he played a character different from the tramp. he was professor bosco, a has-been hobo comic with a box of fleas he used for his act. professor bosco takes them with him to a hostel for a night of sleep. but when the box of fleas is overturned, it’s safe to assume no one gets much sleep. the similarities between the professor and calvero’s act in limelight are much the same in many ways. and it is a perfect example of how chaplin never let go of a comic idea. the professor was never finished, but he saved the idea and finally found a home for it. a friend once said of chaplin, “he had a mind like an attic.” after calvero finishes his act, he leaves the stage to the sound of applause and laughter. he comes back out to take his bows and suddenly there is nothing - just silence and empty seats before him. the look of despair on his face is matched with the man who has just awakened from his dream. he sighs and tries to fall back asleep. a woman calvero has asked to help comes in to try and convince terry to eat something, but she isn’t hungry. she is more confused as to why the woman keeps referencing terry’s husband. calvero comes in with flowers, and when the woman tells him his wife won’t eat, he cheerfully says “that’s a blessing to a poor married man.” after the woman leaves, calvero assures terry that she is only his wife in name only and when she is better she will be free and divorced. terry, who seems to be in better spirits, tells him she thinks she is ready to return to her room, calvero gently tells her that the landlady has already rented it out. terry begins to sob, asking him why didn’t he let her die? she’s destitute, ill. calvero grimly tells her she's alive and she'd better make the most of it. chaplin with claire bloom in limelightcalvero gathers from the landlady’s assumptions that terry could be a prostitute and without actually using the word, he tells her if she is sick with what he thinks it is (most likely syphilis), she can be easily cured. “i’m an old sinner,” he says kindly, “nothing shocks me.” but terry tells him it is nothing like that - she was in the hospital for five months with rheumatic fever. it ruined her life and left her unable to work. she was a member of the empire ballet. calvero seems impressed that she is a ballet dancer and tells her he is also in the business. when he tells her his name, she says, “not the great comedian!” which shows us that calvero’s fame was not just in his head. ruefully, calvero says he was. but instead of talking about that, he tells her she can stay with him until she gets well. when terry worries of being an inconvenience to him, he says he’s already had five wives, one more won’t make much difference. throughout limelight, you can see bits of chaplin’s life in between calvero’s triumphs and tragedies. it is the first role chaplin gave himself where he was closest to his natural self - no pantomime, no funny accent - just charlie chaplin telling us his side. at times it is brutally honest. over dinner, calvero questions terry about her family. he learns her sister, now living in south america, is terry’s only living relative. then he asks her if it was only her ill health that made her suicidal. terry seems already very comfortable with calvero, for the question doesn’t seem to bother her as much as it might have coming from someone else. she says it was her health and the “utter futility of everything.” calvero tells her life is a desire, not a meaning. in his explanation, he imitates both a rose and a rock, which makes her smile. “i can imitate anything,” calvero says indifferently. there’s another flash of real chaplin there. again, calvero falls asleep to the music from the musicians below his window. this time he dreams of a vaudeville act performed by himself and terry. this is my absolute favorite part of limelight. i can never watch the film without rewinding this part once or even twice. the comedy between the pair is funny and the whole scene is utterly charming, especially calvero’s ode to a worm: oh worm, why do you turn into the earth from me? ‘tis spring! oh, worm! lift up your head - whichever end that be and smile at the sun - untwine your naked form and with your tail, fling high the dirt in ecstasy! ‘tis spring! ‘tis spring! ‘tis spring!really watch chaplin in that scene. he moves as fluidly as a man half his age would. chaplin was around 63 then, but you can’t tell it at all. he and terry leave the stage arm in arm, again to the sound of applause. but this time there are no encores to empty theaters. up next: calvero and terry both face harsh realities in limelight, part IV
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Post by callipygias on Mar 11, 2011 22:37:50 GMT -5
A friend who knows I avoid the news brought me the newspaper at work today. Now I owe him a lunch or two, because the paper was folded to the page that announced the Whitsell Auditorium of the Portland Art Museum is showing Chaplin movies weekends in March. I've been hoping for this for a few years now. This Sunday I'll see the short A Day's Pleasure, followed by the mainest feature ever, City Lights. Dig THAT. My wonderful wonderful auntie's coming into town soon, so I might offer to take her next weekend to see Chaplin's short The Idle Class, which will be followed by The Kid. The only way it could've been better news is if they had live musical accompaniment. Next time, maybe.
ENVY ME!!!
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Post by solgroupie on Mar 14, 2011 10:18:28 GMT -5
you are duly envied. i eagerly await a review!
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Post by callipygias on Mar 14, 2011 10:40:26 GMT -5
The theater at the Portland Art Museum's Whitsell Auditorium is bigger than I thought; there were a few hundred seats, I guess, and there were probably a hundred people there by the time the feature, City Lights, started. Pretty good for an 80-year-old, silent, black and white movie playing at 2:30 in the afternoon on a rainy-as-hell Sunday. Seeing Chaplin on the big screen was even better than I thought it would be. There were people from every age group there, and when I was leaving I heard a little kid say to his dad, "That was awesome!" That was a pretty good summary of the experience. If you've never seen an old silent movie on the big screen and you get the chance, do it. It's worth it just to see the way they used to put a woman's face on the screen. (That's not from City Lights, but you get the idea.) And there were quite a few details I caught for the first time, stuff I've missed on my little TV screen. The ending of City Lights... well, is the ending of City Lights, it's well beyond my abilities to describe it, but I'll just say that seeing this on the big screen was as good as seeing it for the first time. If you've seen City Lights, you understand the magnitude of that.
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Post by solgroupie on Mar 14, 2011 12:26:19 GMT -5
as many times as i have seen city lights in my home, i still choke up a little at that last scene. i can't imagine what it would be like to see it on the big screen. but i hope to some day.
it must be so cool to sit with other chaplin fans and experience his films the way they were intended. it would be the only time listening to the laughter of others in the audience would not bother me during a movie.
and to know a little kid thought it was awesome - it gives me hope.
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Post by solgroupie on Mar 28, 2011 18:36:30 GMT -5
limelight, part IV the next morning, terry hides her tears as calvero enters her room, cheerful and ready to make her breakfast. their conversation in this scene is one of the most important ones in the whole movie. chaplin reveals more of his true self here than he does in any other scene in this or any other movie. he begins by telling her about his dream of the two of them on stage together. he says he has been dreaming of his old acts lately. terry tries to seem interested, but she bursts into tears, telling calvero that she cannot move her legs. calvero tells her they will call the doctor, but this does little to comfort her. she says it is all hopeless. grimly, calvero tells her that he was given up for dead six months ago and had to fight his way back, and that is what she must do too. when she says she is tired of fighting, calvero tells her it is because she is fighting herself. standing over her bed, calvero tells her when he was a child he complained to his father that he had no toys. he said his father pointed to his head and said this is the greatest toy ever created. it makes you automatically think back to chaplin’s desolate childhood and wonder if this could have been a real conversation he had with charles sr. though to me, it sounds more like something his mother would have told him. chaplin and bloom in limelightcalvero tells terry about his drinking problem, which led to a heart attack six months ago. and here is the real chaplin in limelight, when calvero says, “as a man gets on in years, he wants to live deeply. a feeling of sad dignity comes upon him and that’s fatal for a comic. i lost contact with the audience, couldn’t warm up to them.” he said it led to his drinking and he couldn’t go on stage without it. smiling sadly, terry comments on what a sad business it is to be funny. “very sad if they won’t laugh. but it’s a thrill when they do. to look out there and see them all laughing. to hear that roar go up, waves of laughter coming at you.” i always think of kid auto races at venice when i hear chaplin in that scene - from 1914it’s hard not to feel chaplin’s sadness in this scene, how he missed the days of creating his stories off the cuff and knowing he was at the top of the heap - when he was known for his comedy, not his politics, scandals or number of wives he had. it had to be satisfying for chaplin to have survived his past (though more was on its way) and still doing what he did best. but the times had changed. he was forced to leave his style of comedy in the past. and like it was said in the schickel doc, chaplin was not the only one growing older; so was his audience. and he had lost many of them along the way. but certainly not all of them. he had to believe that to keep going. when terry tells him he still loves the public, chaplin again speaks for calvero, from his heart. he honestly says he might love them, but he doesn’t admire them. “as individuals, yes. there’s greatness in everyone. but as a crowd they’re a monster without a head, that never knows which way its going to turn. it can be prodded in any direction.” chaplin’s bitterness is still evident - something he would have to learn to live with until he was a very old man - maybe something he had until he died. chaplin, limelightcalvero receives a telegram from his agent - he wants to see him. after his pep talk to terry, calvero is visibly excited to have another chance at his career. at first he says he will make them pay for their indifference, but then relents and says he will be dignified to make them feel even worse. i really like that scene. chaplin was so natural and he and bloom worked very well together. you can see their affection and trust in each other strengthening. i love watching chaplin as he sits in the windowsill, dreamily talking of love blossoming in london. this was chaplin’s best written movie, IMO. it can come off a little heavy if you aren’t in the right frame of mind, but when you are it is just pure poetry. at the agent’s office, a group of hopeful men and women are told there are no more jobs available and they leave dejectedly. i heard once that chaplin cast edna purviance as one of these actors, but if she is i have never been able to identify her. calvero enters his agent’s office, much more subdued than he was earlier. he knows the stakes of getting hired. the agent tells him he can get him a week of work at the middlesex music hall. guardedly, calvero asks about terms. the agent puts him off - his attitude is calvero should be grateful for any work he gets at all. when calvero asks about billing, the agent once again blows that off as well. laughing in disbelief, calvero asks, “i’m not to get star billing at middlesex?” which tells us what kind of place middlesex must be. obviously insulted, calvero says his name is still one to be reckoned with. but his agent says in a matter of fact tone that he is mistaken - it is now worthless. he tells calvero the only reason he’s getting the job at all is because of a favor that is owed his agent. the name “calvero” is now poison and no one wants to touch him. what is left of calvero’s shaky confidence is broken at last and he fights to maintain his dignity. lost of all bravado, he humbly says he will do whatever his agent tells him to do, which thrills the man behind the desk. he seems relieved and happy when calvero suggests he use a different name, which only drives the knife in calvero a little deeper. however, he keeps this humiliation to himself. in a deleted scene, calvero meets an old friend who has also suffered through hard times after meeting with his agent in limelightchaplin’s acting in limelight is brutally painful. though his career never went to the depths of calvero’s, he knew how precarious show business could be and how easily it happened to comedians he had known and admired. up next in part VI - calvero and terry’s return to the stage
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Post by solgroupie on Mar 31, 2011 15:59:37 GMT -5
^not part VI. sorry. limelight, part V. calvero runs into the doctor who has just examined terry’s legs. he tells calvero that he believes she’s suffering from a case of psycho anesthesia, which is making her believe the paralysis in her legs is real. since she failed at committing suicide, she is now set upon becoming a cripple and it is a case for a psychologist. chaplin with wheeler dryden in limelightback in the flat, calvero says nothing of his humiliation he recently experienced with his agent over the upcoming show at the middlesex. instead, he concentrates on helping terry work through her problems. while performing menial tasks, he casually asks her questions. like any good shrink, he asks about her family - her only surviving family member, her sister louise. terry explains that after their mother died, louise was everything to her. she supported the eight-year-old terry and sent her to dancing school. but when she was no longer able to find work, louise turned to selling herself on the street to pay for her younger sister’s dancing lessons. she tells calvero of the day she was walking home with some of the other girls from her dancing class when they spotted louise on the street and realized what she was doing. it filled terry with guilt, shame and embarrassment. shortly afterward, she went to boarding school and eventually joined the empire ballet, while louise disappeared in south america. when a girl who was with terry the day she realized the truth about her sister joined the empire ballet, it began terry’s health problems. calvero shrugs and explains to terry that she had associated the girl with louise’s shame and from then on she didn’t want to dance. terry seems stunned at this, but at the same time she sees that calvero is not judging her or louise for anything. he merely quips that everyone is trying to make a living the best way they know how. his acceptance is a source of some much needed healing for terry. he asks her if she has ever been in love. terry blushes and tells him the story of a young man she knew as a customer in a stationary shop where she worked after being released from the hospital. he was an american pianist that came in frequently to buy music paper. terry felt sorry for him because like her, he was very shy and seemed rather pathetic. she also knew he would go hungry in order to buy music paper, so she tried to help him by giving him extra sheets. she learned his name was mr. neville and lived above the shop. terry would sometimes stand outside his window and listen to him play the piano. sydney chaplin jr. and claire bloom in limelightit was when she purposely gave mr. neville too much change back that she was fired after her boss realized the till was short. months later she found out one of his symphonies was a great success. calvero tells her that of course she is in love with mr. neville. terry exclaims she doesn’t even know him, but calvero assures her she will one day. this is one of my favorite moments from limelight, when calvero sits in an open windowsill and dreamily describes how terry and mr. neville will meet again and fall in love in “the elegant melancholy of twilight.” i love how we see calvero here - he has been through terribly rough times and is just managing to get by, yet he can still be such a romantic. of everything he had to sacrifice, he was able to keep that part of him alive. chaplin working with claire bloom on the set of limelightterry begins to sob again over the loss of her legs. calvero loses his patience with her this time. he passionately tells her the same power that moves the universe and grows the trees is within her if she would only have the courage and the will to use it. when she doesn’t respond he leaves her abruptly. time passes. we see calvero leading terry around the flat in a clumsy dance, the two of them laughing as he stays just out of reach, making her follow him on her weak legs. then there is terry and calvero sitting by a fire. terry reads stories out of the newspaper to him while he writes at a table. they seem very comfortable with each other, like an old married couple. calvero still encourages her to keep fighting, but now terry seems more optimistic and less desperate than before. calvero tells her he hasn’t taken a drink since they met and doesn’t intend to before his opening act at the middlesex. just then, a telegram arrives, announcing the date of calvero’s performance. while outside the flat reading it, mrs. alsop, the landlady approaches calvero. a funny little scene ensues between the two of them as calvero charms her into forgetting how late he is on the rent, as well as how much longer terry will remain in residence. when calvero goes back inside, he tells terry the telegram was for mrs. alsop. up next in part VI - endings, beginnings for calvero and terry sydney chaplin jr.
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