Charlie Chaplin’s Chagrin

Charlie Chaplin was certainly multi-talented, and 1928’s The Circus tested every performing skill he had, along with others that he probably would have preferred not to exercise. The whole business was so bad that in after years Chaplin preferred to act as if the film never existed, but let’s not get ahead of ourselves.

The movie opens at the titular circus, where the audience is bored at the clown act. It probably doesn’t help that the ringmaster (Al Ernest Garcia) is a massive jerk who starves his stepdaughter Merna (Merna Kennedy) when she messes up during a performance. Her co-workers try to sneak food to her, but the ringmaster always finds out and glowers menacingly.

I’m sorry, I’ve got to give this guy a name, because typing “the ringmaster” every time is boring. Since the actor who played him was named Al, I hope Al works for everyone (Feel free to cue that one Paul Simon song).

Anywhoo, who should wander into the circus but the Tramp (Charlie Chaplin). He’s hungry. He hasn’t eaten in a while. After taking a few bites out of a baby’s hot dog bun, the Tramp sees a chance to buy some food when a policeman thinks he’s returned a stolen wallet. Unfortunately, the real owner shows up, and of course he’s a wee bit ticked off. Our Tramp takes off running and finds himself in the center ring of the circus show, where he gets everyone busting up.

Al is annoyed, but he also sees dollar signs, and he has the Tramp try out for the clown act, and it’s no shocker that Tramp annoys him to no end. The barbershop act, for instance, makes a bigger mess than usual, with Rex on the receiving end of a whole lot of shaving cream. Tramp also takes bites out of as much food as he can, including an apple that turns out to have a worm in it.

Still, he gets the job, and he and Merna get to be friends. He even succeeds in sneaking her food, in one scene by throwing it up to her as she sits on her trapeze. It mostly works, although the food doesn’t always land where it’s supposed to. A cream pie, for instance, ends up being a sight gag instead of a repast.

In case that isn’t enough, a very intriguing tightrope walker named Rex (Harry Walker) joins the circus, and Merna is immediately smitten. Tramp is disappointed, but the show must go on, and he might find himself standing in for Rex in more ways than one. It gets awkward, but that’s par for the course in Tramp World, and in the end, Tramp does the gentlemanly thing. While I won’t say what that thing is, I will say that everyone, including him, walks out smiling and it’s a great moment. Al’s not happy, but he just might come around.

Speaking of coming around, Chaplin was dreaming about making a circus movie as far back as 1920. Production started in January of 1926, with Chaplin writing, directing, and starring in it, and it was to be his greatest exploit ever.

While the film itself came out better than all right, but getting there was a major pain in the neck. Principal photography seemed to go off without a hitch, but then a scratched negative was discovered. Chaplin’s studio caught fire and the film’s set destroyed. His very young and pregnant wife, Lita Grey, sued for divorce and her lawyers thought nothing of trying to ruin Chaplin’s personal and professional life. He was also sued by the federal government for a million dollars in back taxes.

In this case, the show didn’t go on, at least temporarily. The Circus shut down for eight months while the former Mrs. Chaplin’s lawyers sniffed around, and by the time production started up again, construction changed the shooting location completely, which meant even more improvisation was necessary.

Understandably, Chaplin had a nervous breakdown. Even though The Circus was a great success when it finally released in 1928 and garnered Chaplin a handsome pressbook and two Oscars, he just wanted to move on, and he certainly didn’t want anyone watching The Circus.

Amazingly enough, about forty years later Chaplin was coaxed into recording a song for the opening credits, “Swing, Little Girl” and having the movie cleaned up a bit, but other than that, it was as if The Circus didn’t exist for him. It’s not even mentioned in Chaplin’s autobiography.

Film history seems to have taken a cue from Mr. Chaplin, because The Circus is very underrated and neglected in relation to the rest of Chaplin’s filmography. It’s a shame, because the comedy and stunts in the film are excellent. Among the highlights are a really cool bit in a mirror maze, a tightrope walking scene in which Chaplin struggles to balance while monkeys climb all over him and his pants fall down, and another scene in which Chaplin faces off with a lion. The last two of these stunts were incredibly dangerous and incredibly real, so there wasn’t a lot of acting happening.

The thing I find amazing about the film is how well it came together despite the stress and trouble Chaplin went through. None of his personal problems affected his performance in the slightest. I completely get it. Any performer can attest that there are days when smiles are pasted on and baggage is left backstage until the curtain rings down. “Fake it ’till you make it,” isn’t just a cute saying but a way of life, and while it can be incredibly difficult and stressful to be “on” when “off” is all that’s wanted, not to mention it can mess with the sanity, there’s a certain catharsis in pushing through personal problems, at least until they can be dealt with.

The Circus might have been a thorn in Charlie Chaplin’s side, and it might not have been his proudest work, but given what went on behind the scenes, it’s nothing to sneeze at, either.

My June Substack recap is coming out on Thursday. Thanks for reading, all, and I hope to see you then…

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