Pantomime: Churchill and Chaplin

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great art instruction posts.


Charlie Chaplin and Winston Churchill may have both shared the same country of birth, but they aren't people you would normally associate together in your mind...


Today I was scanning Colliers magazines that Mike Fontanelli has on loan to us, and I ran across this article authored by Winston Churchill from October of 1935. Titled "Everybody's Language", it is both a film fan's homage to Charlie Chaplin and a history of pantomime in Western culture. I hope you'll take the time to read it, because it has some important things to say to animators...

"Twenty five years ago, when the young actor crossed the Atlantic, life in the States was more fluid than in England- more fluid perhaps than it is today. Its forms had not set. Personalities were more important than conventions. Democracy was not only a political institution, but a social fact. Class distinction mattered comparitively little when the hired hand of today was so often the employer of tomorrow, and the majority of professional men had paid for their university training with the work of their hands."

"Every cinemagoer is familiar with the Chaplin tramps, but I wonder how many of them have reflected how characteristically American are these homeless wanderers..."

"No mere clown, however brilliant, could ever have captured so completely the affections of the great public. He owes his unrivaled position as a star to the fact that he is a great actor, who can tug at our heartstrings as surely as he compels laughter... I believe that, had it not been for the coming of the talkies, we would already have seen this great star in a serious role. He is the one figure of the old silent screen to whom the triumph of the spoken word has meant neither speech nor extinction. He relies, as of old, upon a pantomime that is more expressive than talk."

"Pantomime, of which he is a master, is capable of expressing every emotion, of communicating the subtlest shades of meaning. A man who can act with his whole body has no need of mere words, whatever part he plays."

"I should like to see films without voices being made once more, but this time by producers who are alive to the potentialities of pantomime. Such pictures would be worth making, if only for this reason, that the audience for a talkie is necessarily limited by the factor of language, while the silent film can tell its story to the whole of the human race. Pantomime is the true universal tongue."

"It is a favorite cliche of film critics in discussing pictures to say that we cannot go back. In effect, they suggest that, because technical progress has given us sound, all films must be talkies and will continue to be so forever. Such statements reveal a radical misconception of the nature of progress and the nature of art. To explore the possibilities of the non-talking film, to make of it a new and individual art form, would not be a retrograde step, but an advance."

Churchill was mistaken about the return of silent filmmaking. Talkies were, and still are here to stay. But "a new and individual art form" based on the ancient foundation of pantomime was just beginning to make its mark when this article was written. I'll give you three guesses as to which art form that was!

Charlie Chaplin wasn't the last gifted pantomimist. Many others followed him... Jackie Gleason, John Cleese, Rowen Atkinson... and these two giants from the early days of television, Sid Caesar and Imogene Coca. Here is a brilliant bit from the mid-1950s from the The Sid Caesar Buried Treasures DVD


Sid Caesar and Imogene Coca:
The Cocktail Party (1954)
(Quicktime 7 / 17 megs)

PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.

Many thanks to Mike Fontanelli for the loan of this magazine and Dr. Macro's High Quality Movie Scans for the wonderful Chaplin images that illustrate this post.

If you found this article interesting, see... Chaplin's Shadow: Inspiration vs Ripoffs, The Application Of Inspiration / How To Properly Use Reference / Incorporating Natural Forms / (Visual) Literacy / Why Do We Need An Animation Archive?

If you want an incredible insight into the mind of a brilliant filmmaker, you will want to get the DVD of Unknown Chaplin. Using never before seen outtakes, these three programs reconstruct Chaplin's creative process from the ground up. This is one of the greatest documentaries ever made. Check it out!

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

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2007 Review: 5 Originality vs. Ripoffs

As the ASIFA-Hollywood Animation Archive completes its second year in operation, it's time to review the accomplishments of the past year. Here's a countdown of the ten most important subjects we've covered in 2007. See if your list matches mine. (View the complete list.) Click on the link to read more on this topic.


NUMBER 5: ORIGINALITY vs RIPOFFS

Ethics may not be the first subject that comes to mind when you think of the challenges facing cartoonists, but it's an important issue. I addressed the students who read this site and gave them some useful advice on thinking for themselves in an article titled...

Originality vs. Ripoffs: Chaplin's Shadow
April 25th, 2007

This may just be the most important single article we've ever posted here.

Go To Number 4 on the list of Top Ten Subjects of 2007

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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2007 Review: 9 Cultural Literacy

As the ASIFA-Hollywood Animation Archive completes its second year in operation, it's time to review the accomplishments of the past year. Here's a countdown of the ten most important subjects we've covered in 2007. See if your list matches mine. (View the complete list.) Click on the link to see more on this topic.



NUMBER 9: CULTURAL LITERACY

One of the most important posts of the last year was one that didn't even deal specifically with animation... It was titled, "Live The Fabulous Lifestyle Of A Hollywood Cartoonist", and it spoke about the importance of cultural literacy.


You probably know every sordid detail of the lives of Paris Hilton, Lindsay Lohan and Britney Spears. It's hard to avoid filling up your brain with useless trivia about talentless celebrities. Every few years, the old ones are relegated to the rank of "has been" and there's a whole new bunch to learn about. But as an artist, you need to dig below the surface drek and expose yourself to vivid personalities and talented performers that can inspire you in your work. The history of popular culture of the past century is packed with amazing artists. Why waste your time with crap?


Zutty Singleton, Cootie Williams, Zoot Sims, Bubber Miley, Papa Jo Jones and Dizzy Gillespie weren't just guys with funny first names... they were some of the most creative individuals who ever walked the earth, working in the greatest new artform from the past 100 years... Jazz. And they weren't the only ones worth studying. The 20th century sparked an explosion of creative expression in the fields of filmmaking, music, the performing arts and dance. All of these have a direct relation to your work as an animator.


If all you know is movies released since Star Wars and music since The Beatles, you don't know the first thing about the culture your art is based upon.


I'm constantly running into students of animation who are well aware of the history of animation, but are woefully ignorant of the broader artistic culture that animation fits into. This is an area I plan to work on in the coming year. I'll be announcing a new screening program soon that will feature the best of 20th century drama, music, dance and comedy, featuring the performers that inspired the animators of the "golden age" of animation.


How many of the geniuses pictured in this post can you name? Are you familiar with their work?

"Live The Fabulous Lifestyle Of A Hollywood Cartoonist" March 30th, 2007

Several of the images in this post are from Dr. Macro's High Quality Movie Scans. If you don't know about this site, you should... It's a wonderful place where you can get lost for hours viewing all the amazing images... just like the ASIFA-Hollywood Animation Archive!

Go To Number 8 on the list of Top Ten Subjects of 2007

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

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Theory: Chaplin's Shadow

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great art instruction posts.


The Legendary Charlie Chaplin
Recently, controversy has erupted in the blogosphere over artists who directly copy other artists' work (See the articles on Cartoonist Todd Goldman, Family Guy and Jerry Mouse and The Great Ripping Friends Rip-Off.) The issue of exactly where the dividing line lies between "homage" and "ripoff" is open for debate among fans, but today I want to speak to the artists out there... and in particular, aspiring animators. For you, this subject is more than just idle chatter.

Every day, an artist makes thousands of decisions. These decisions affect not just the piece he is working on at the time, but his entire creative output. It's important to understand why you're making the decisions you make, and to strive to work your problems out for yourself; not just apply someone else's decisions as a substitute for your own. Truly great artists refuse to even copy themselves... Take Terry-Toons animator Jim Tyer for instance. He never approached the same situation with the same animation twice in his entire career.

There are consequences to the decisions we make as artists. Sometimes in the heat of creativity, right and wrong can become blurred by practicality and commercial demands. It's up to you to balance those competing pressures, but as the old saying goes, "Virtue is its own reward."

It's hard to not react with bias to current examples of imitation, but time can lend clarity. I'm going to tell you about two performers who were popular nearly a century ago. One of them you know. The other you don't. The reason for that is in the decisions those two artists made. -Stephen Worth


Edgar Kennedy and Charlie Chaplin
CHAPLIN'S SHADOW
In 1916, Charlie Chaplin signed a contract with Mutual to produce 12 comedy shorts over a year and half's time. He was paid the unheard of amount of $670,000 for the shorts, and was given unprecidented creative freedom. We now know that the end result of this deal was a package of slapstick shorts that represent the most influential comedy films in the entire history of cinema. But back in 1916, it was just a LOT of money being paid to a relatively untested artist.

Here is an anthology that pulled together articles from Judge magazine during this seminal period in movie history...


In the pages of this anthology is this article on Chaplin's deal with Mutual. Although the form of the prose is quite different from what we read today in entertainment magazines and blogs, the apologies for appealing to the unrefined masses, complaints about big budgets, and stories about movie-star ego trips are the same sorts of sniping we read in reviews today. What this writer didn't know was that Chaplin was on the cusp of breaking through as the single most important filmmaker of his time.


Now that the stage is set, I want to introduce you to "The Shadow"...

Billy Ritchie worked alongside Chaplin on the English Music Hall stage, performing as the drunk in the classic sketch, "Mumming Birds", just as Chaplin did in his vaudeville days. Chaplin's biographer, David Robinson described this sketch like this...

The setting for "Mumming Birds" represents the stage of a small music hall, with two boxes at either side. The sketch opens with fortissimo music as a girl shows an elderly gentleman and his nephew- an objectionable boy, armed with peashooter, tin trumpet, and picnic hamper- into the lower O.P. box.

The Inebriated Swell is settled into the prompt side box, and instantly embarks upon some business of a very Chaplinesque character. He peels the glove from his right hand, tips the waiting attendant, and then, forgetting that he has already removed his glove, absently attempts to peel it off again. He tries to light his cigar from the electric light beside the box. The boy holds out a match for him, and in gracefully inclining to reach it, the Swell falls out of the box.

The show within the show consisted of a series of abysmal acts... The acts changed over the years, but some remained invariable: a ballad singer, a male voice quartet, and the Saucy Soubrette, delighting the Swell with her rendering of "You Naughty, Naughty Man!"

The finale was always "Marconi Ali, the Terrible Turk- the Greatest Wrestler Ever to Appear Before the British Public". The Terrible Turk was a poor, puny little man weighed down by an enormous mustache, who would leap so voraciously upon a bun thrown at him by the Boy that the Stage Manager had to cry out, "Back, Ali! Back!" The Turk's offer to fight any challenger for a purse of £100 provided the excuse for a general scrimmage to climax the act.

Ritchie came from the same basic background as Chaplin, so when Chaplin began to rise to fame, he was a natural choice to put out film comedy shorts to compete. Henry Lehrman, who was previously a director at Mack Sennett, hired Ritchie to star in a series under his "Lehrman Knock-Outs" banner. The comparisons with Chaplin were inevitable. Ritchie used the same costume that Chaplin wore in "Mumming Birds"... the bowler hat, bamboo cane and tattered suit that became famous as the Little Tramp costume.

Here is an interview with Ritchie made around 1916...



The author of this article makes it clear that Ritchie's career has one foot planted in his own shoes, and the other in Chaplin's. But it didn't last... When Chaplin's Mutual Shorts were released, they were a sensation. They blew Ritchie out of the water. Lehrman was forced to change distributors to Universal in 1917, and the quality of the films took a nose dive. Two years later, Ritchie was attacked on the set by an ostrich, and never recovered. He died from the injuries he sustained in 1921, leaving his wife without financial support.


Chaplin imitator, Billy West
Billy Ritchie wasn't the only Chaplin imitator... Billy West and Charles Amador also traded on the image of the Little Tramp; and a cartoon series produced by Gaumont in Europe exploited the character as well. Chaplin sued to protect his creation, but ultimately his own success and brilliant creativity plowed his imitators under better than any legal writ.

Ironically, Chaplin never sued his old comrade, Billy Ritchie. And after Ritchie's death, he took pity on his widow and gave her a job as his costumer. She prepared the Little Tramp costume for Chaplin's performances, just as she had for her late husband.

The history of film is full of stories like this. Here are Duke Mitchell and Sammy Petrillo...


...remember them? No? Well, that's because they didn't last either. Petrillo was quoted as saying, "I hold the record for being the world's youngest has-been."

In time, surface similarities like the hat and cane cease to matter. Audiences didn't love Chaplin for his costume. It was the spark of genius in the creator that made the Little Tramp immortal. You can't steal genius. You may gain a short term benefit from ripping off another artist to further your own career, but you'll pay for it in the end.


The moral of this cautionary tale is to be true to yourself. The business has no shame. The audience won't sue you for ripping off someone else's idea. You need to develop a conscience for yourself. No one is going to do it for you. You owe it to your muse.

Here's an interesting post on a similar subject at John K's blog.

If you found this article interesting, see... The Application Of Inspiration / How To Properly Use Reference / Incorporating Natural Forms / (Visual) Literacy / Why Do We Need An Animation Archive?

If you want an incredible insight into the mind of a brilliant filmmaker, you will want to get the DVD of Unknown Chaplin. Using never before seen outtakes, these three programs reconstruct Chaplin's creative process from the ground up. This is one of the greatest documentaries ever made. Check it out!

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

3.24.09
.

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Tangent: Live The Fabulous Lifestyle Of A Hollywood Cartoonist

John Kricfalusi posted a blistering post this morning about popular culture and the upside down meaning of the words "liberal" and "conservative" today. If you haven't read it yet, check it out. Here is my own take on a similar theme...

LIVE THE FABULOUS LIFESTYLE OF A HOLLYWOOD CARTOONIST

The other day, a student at Woodbury volunteered to help build out our database. His name is Jo-Jo. He told me how much this blog, along with Eddie Fitzgerald's and John K's, has opened his eyes to how great cartoons were in the 30s, 40s and 50s. He had a sketchbook full of Preston Blair drawings and enthusiasm for Fleischer, MGM and Warner Bros cartoons. So I asked him what kinds of music he listens to...

"David Bowie mostly."

My jaw hit the floor. I couldn't believe what I was hearing. I gave Jo-Jo the best tip he'll ever get...

Cartoons aren't the only things that were better back in the first half of the 20th century.

Mike Fontanelli stopped by later and pointed out that somebody should write a book titled "The Golden Age of Everything". Sure, there are things today that are incredibly great... computers, the internet, iPods, frost-free refrigerators, etc... but music, dance, illustration, writing, movies and cartoons were all better back then. Cartoonists should be aware of this, and they should absorb all of the greatness of the past. It will make them better cartoonists.

Today, I'm going to talk about music...



I know that someone out there is going to post a comment saying that there's still great music being made, it just isn't mainstream. I'm fully aware of the fact that there are talented musicians working today. But in the 30s through the 50s, incredible talent was a given. Performers, from the top of the heap to the bottom- from most popular to least- were all capable of making you do a double take and say "wow!".

When I ask kids what kinds of music they listen to, I usually get the response, "All kinds." But "all kinds" usually turns out to mean a million shades of the same color... current rock music. There are so many names today for the same kind of music. For the life of me, I can't tell the difference between rave, techno and electronica. In the past, there really were a million kinds of music... pop vocals, hot jazz, country western, big band swing, folk, rhythm & blues, bluegrass, mambo, dixieland, rock n' roll, sweet orchestral, be bop...

I could talk for hours about this subject, but the best proof is seeing what I'm talking about...

JAZZ
Lucky Millinder & Sister Rosetta Tharpe
"Four Or Five Times" (Soundie/1941)
(Quicktime 7 / 5.5 megs)

COUNTRY MUSIC
Larry Collins & Joe Maphis
"Under The Double Eagle" (Tex Ritter's Ranch Party/1959)
(Quicktime 7 / 5 megs)

THE BLUES
Leadbelly
"Gray Goose" "Pick A Bale Of Cotton"(1950s)
(Quicktime 7 / 10 megs)

POPULAR MUSIC
Les Paul & Mary Ford
"The World Is Waiting For The Sunrise" "Amuka Riki" (Grand Old Opry/1959)
(Quicktime 7 / 12 megs)

If you are a student planning to be a professional cartoonist, listen to music that relates to your work- read books that inspire cartoony ideas- watch movies to learn cinematic techniques that can be applied to cartooning- LIVE THE FABULOUS LIFESTYLE OF A FAMOUS HOLLYWOOD CARTOONIST!

By the way... Jo-Jo is a big Fats Waller fan now!

Let me know in the comments if you'd like more posts about other tangential subjects related to cartoons.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

1.27.09
.

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