[Quick Summary: Charlie Chaplin rises from a UK vaudeville act to Hollywood film star, but is pursued by the FBI for decades over accusations of Communism.]
This is a really good script and the film stays fairly close to the structure.
But its genius is that it provided a springboard for something absolutely luminous in the hands of director Richard Attenborough and actor Robert Downey Jr.
My favorite scene (below) is the moment when Chaplin has to hastily put together a new character, which becomes the famous Tramp:
- The scene is fairly straightforward: Charlie randomly grabs a hat, cane, and clothes in wardrobe, then hurries out the door to the set.
- The script lays out good building blocks: "PULL BACK to show the full figure. Before our eyes we see the incarnation of the TRAMP's ... shuffle."
- However, the director and actor improves on the script. Instead of a short journey to the set, they chose a long, long walkway.
- Chaplin exits wardrobe --> walks fast, faster, readjusts his gait, then shoulders, hat, cane --> so by the end of the walkway, he is transformed into the Tramp.
- I hope you seek out the film because it's a true masterpiece of transformation.
EXT. WARDROBE HOUSE, SENNETT STUDIOS. DAY. (1914)
The door of the house. Opens. FRAMED: The TRAMP -- Almost.
He adjusts his jacket. Swings his cane. Touches his tie, the brim of his hat. His fingers run over his naked upper lip. He takes a step. Pauses. Turns and goes back inside.
HOLD ON: the door.
CHAPLIN -- The TRAMP -- reappears. With his familiar little moustache. He smiles - a typical Tramp smile. Sets off at a run.
EXT. SENNETT STUDIOS. DAY. (1914)
CHAPLIN running towards the stage. He stops, takes off the Derby, ruffles his hair replaces the Derby.
HOLD on his face as he sets off again. The moustache twitches. PULL BACK to show the full figure. Before our eyes we see the incarnation of the TRAMP'S distinctive, cocky, humble shuffle - a twirl of the cane, a hunch of the shoulders.
WHAT I'VE LEARNED: The writers figured out solid story mechanics so the director and actor had the freedom to riff and soar.
Chaplin (1992)(shooting script, Oct., 1991)
by William Boyd
Script consultant: William Goldman
Story by Diana Hawkins
Based on My Autobiography by Charles Chaplin, and Chaplin- His Life and Art by David Robinson
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