Thomas Butt is a senior writer at Collider who focuses on classic movies.
The Big Picture No two figures are symbolic of creative autonomy quite like Charlie Chaplin and Orson Welles. On paper, they should have nothing in common, as their most acclaimed films are stylistically and thematically opposed. While City Lights and Modern Times bear little resemblance to Citizen Kane or Touch of Evil, they both revolutionized cinema through their maverick auteurism and split duties as actors and directors, and they constantly worked outside the mainstream studio system.
Release Date September 26, 1947 Director Charlie Chaplin Cast Charlie Chaplin , Mady Correll , Allison Roddan , Robert Lewis , Audrey Betz , Martha Raye , Ada May , Isobel Elsom Runtime 124 Minutes Main Genre Comedy Writers Charlie Chaplin , Orson Welles Expand Charlie Chaplin Was Riddled With Controversy In the 1940s, having pivoted to talking pictures and retiring the Little Tramp character, Charlie Chaplin vowed to expand his repertoire, but his ambition caused his favorable reputation among...
Released as a bonus feature on the film's release on the Criterion Collection, an episode of the TV series, Chaplin Today examines how Chaplin's social and professional turmoil birthed such an incendiary film. However, the idea of a film about a recently fired banker who murders married women to inherit their wealth stemmed from Orson Welles.
Chaplin didn't run away from the hardships, but rather, he infused his zany slapstick as catharsis for every American scraping by to put food on the table. Monsieur Verdoux is devoid of catharsis, as we see a calculated serial killer rob and murder with the ease of a trained assassin. Chaplin's Dickensian worldview of the impoverished affectionately persevering through hardships is a foreign concept in his 1947 black comedy.
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