Cinema: small and great.

The First World War took away much from the world and left as much. People died, there were dead bodies. Houses were erased, gray ruins settled. Happiness split, sorrow concentrated. The threshold of the Second World War. A distant but loud alarm. Dark days have come dark. Regeneration after the difficult war years was going on. The interval between the two terrible wars was a time of respite, spared the high powers, giving them a break from the military "exercise". During this time, an emotional cyclone has formed over people, mixing joy, sadness, fear and hope into one substance, from which a strange atmosphere is born. The darkness of apathy and the inevitable approach reigned in society. It's good that the cure for the bitterness was the movie ...

... and saw the world of Chaplin. If we rely on the light mystery, let's call it the divine sending down of a great man, a living synonym for "cinema", a harmonious personification of the comic and feelings. Over the years, from the beginning of the rich 20th century, Charles Spencer Chaplin gave the public a smile. The audience, who met Charlie's talent, belonged to different circles and social strata. Young Charlie acted on stage shoulder to shoulder with frank improvisation, earned money, took care of his mother, and people admired a small miracle, promising him wide fame and not suspecting that they were telling undeniable truth. Thorny thorns and hedges did not prevent Chaplin from getting out of the ravine of difficulties. On a tray of young years, fate presented him with a whole set of tests, which he overpowered with a manly will to his goals. First, the theater and music halls, then - the cinema. Before our hero opened the gates in the United States, a wonderful country of opportunities, no matter how trite it sounded. Still, Chaplin told us about this when his role shifted from the ordinary role of "comedian" to the vocation of "master of cinema".

The spectator liked to look at Charlie Chaplin, who performed in short films. Rather, he did not love him, but the image. Blown pants, clown shoes, a bowler hat, a cane with a right hand and, of course, a micro-mustache. The formula of the classic Rogue, which has become an untouchable example of a comic-lyrical character of all times, peoples and dimensions. The tramp did not appear anywhere. He was inside Chaplin. The actor went into the make-up room, and then in him a rare, instinctive inspiration arose, extending his hand to ordinary, but in combination, bright and eccentric things. Why pants and shoes? They make the Tramp awkward. Why a bowler and a cane? They create the character of a gentleman. Finally, why the mustache? They "round up" the face of the hero, make him a childlike adult, unnaturally important and at the same time ordinary. With the Tramp, Charlie Chaplin made his way to the expanses of directing and scripting. Ambitions flared up in him with every year of work on the set, and now he could realize all his ideas, explore the delights through the film camera film, and not the screen of the finished film. Undoubtedly, on that day, when Charlie was given a chance of self-expression, he was happy incredibly.

"Baby" is the first work of the maestro. The most touching. Most perceptive. The most soulful. Although here it is necessary to hold high-tonality expressions, because the soul is divided into large and small pieces can not. This is one whole, and any Chaplin masterpiece taken at our discretion is a virtuoso pantomime of the soul. Charlie began not with a joke, but from the heart, whereby he arranged for the film a reasonable expectation of the smart, and not funny "at a time." It is the cordiality and warmth of humanity that transforms the picture into what belongs to the absolute, which is adorned with the hallmark of "great cinema" and is awarded a prestigious cult. Than the "Baby" is more beautiful and more affectionate, the deeper, the more incomparable and incomprehensible its axiom. Through the alliteration of lyrical scenes Chaplin recites a story about the father and son. Laconic acrostic plot plot Chaplin is for us a word, an unknown, a cell, encrypted under the asterisk. Everyone will see in him a personal meaning, everyone will understand this word in his own way, however, the core of this meaning is one. And laid in this film.
They embrace a strong grip of mutual fear and love ... And we understand that there is a cement bridge between them that can not be destroyed, not allowed. Under the sweet poster of the comedy, a powerful drama with a planetarium of feelings and emotions hides. The romanticism of family optimism is wrapped up in the treble clef of dramatic art, while the dense melancholy rings the title circumstance. Charlie Chaplin wrote a dithyramb to his father's heroism and maternal love, singing it in the accordion of the voice-over orchestra and the expressive play of the actors. "Kid" destroys the stereotyped performance, and the Tramp becomes a father inclined, in addition to a chronic habit to get into all sorts of trouble, to philanthropic activity. He found the abandoned child and sheltered himself. He has done good, to which not many will dare. Good, a reward for which is not required. The son became the motive of life for our hero, an indispensable plaque reflecting the truisms of happiness. Compassion awakens from the first frames, black and white, but contrasted dramaturgy and carefully polished by the unobtrusiveness of the comedy, which is present in a second-round decoration. You believe every act of heroes, their stupidity and heroism. You smile when Jackie Kugag laughs, and frowns with restraint when he cries. Chaplin avoids the stereotyped character with the help of their inconstancy. The tramp ceases to be a charming idiot and turns into the ideal of all wives and mothers. The son mimics a quick-witted hooligan into a golden child. No, the characters do not change - they blossom before us.

The father takes his child by the hand, and with the wings on their back they gracefully fly up like angels ... And we realize that this is a magical acrobatic stunt of artistry. The director perfectly uses metaphors, while not flying away with them too far and high, adhering to clear focus. Sometimes I want to admire the duo of compositional techniques and visual experiences, to which, undoubtedly, Charlie is biased. At that time, it could be special assembly glues, transitions, "invisible" ropes, props, costumes ... However, the main special effect is the Tramp. The same pants, shoes, a bowler, a cane, a mustache make us happy. Do not just forget about one more, the necessary element - the most Charlie Chaplin.

10 of 10

"Life is a tragedy, when you see it close-up, and comedy, when you look at it from afar. "© Charles Spencer Chaplin.