NEW CHAPLIN FILM

Hokitika Guardian, 21 March 1928, Page 1

NEW CHAPLIN FILM

humour and artistry in “THE CIRCUS.” NEW YORK, Jan. 25. Charlie Chaplin has come to loan again with his new film “The Circus," and, no doubt, it will soon be on its way to London. It is the old Charlie, pathetic in his humour and delightlui in his artistry. There is none of the pathos that drew tears in “The Gold Rush,” but the circus gives him. full scope for his whimsicality. As a tramp he tumbles into the ring as a. means of escape from the police and revives a drooping audience to exhilarating laughter ttitli his unintentional by-play. He puts the. professional clowns >o sliame. There are two big scenes. In the first the little tramp rushes inadvertently into the lion’s den. 'J he animal is asleep in a corner, and Charlie, discovering is presence, is determined not to arouse, the beast. All might have been well if a little dog had not espied the. intruder and come harking furiously at him. The escape from the awakened lion must he seen to he enjoyed. TIGHT-ROPE WALKER. In the second scene the experienced clown is set to walk the tight-rope. All goes well at first, for Charlie lia.s persuaded a property man to support him with a hook in the hack of his trousers. But the hook becomes unfastened. There is no liner moment in the film than when Charlie continues balancing not knowing that the hook no longer supports him, but what paroxysms of fear when he discovers it swinging above his head! The scene develops into extravagance, hut it has great moments. Lastly, the diminutive tramp—his bowler and cane are always with him —is driven from the ring. r I lie circus moves to the next town and Charlie is seen waddling into the distance, dejection in every line oi his whimsical figure. Is there anyone else in the film world whose every gesture must be watched with the closest attention for full appreciation of acting? It has always been so with Charlie Chaplin, and it is the case in this film.