Blu-Ray Review | The Circus | 1928
Charlie Chaplin's The Circus (1928) was the last film the legendary filmmaker made during the silent era, although it would be well into the sound era before he would abandon silence altogether. The production was famously fraught with difficulties, with Chaplin being forced to reshoot much of the film due to a processing error, and a series of personal setbacks that left Chaplin noticeably tired and gaunt.
In fact the final shot of The Circus is almost the exact mirror of the iconic final image of his next film, City Lights (1931), which ends on a more upbeat note. It's a deeply funny film, and the climactic tightrope walk featuring a troop full of monkeys is one of Chaplin's most impressive set pieces. But there's something undeniably sad about the whole affair. The Circus came at a time of transition not only for Chaplin, but for cinema as whole, as the silent comedian faced a landscape shifting to sound and potentially leaving his ilk in the dust. As it turned out, Chaplin was one of the few silent comedians to survive the transition to sound, enjoying some of his greatest silent successes well into the sound era. But one can imagine The Circus as a film about an existential crisis - a work of deep soul searching by a performer grappling with the deep-seated insecurity of "am I funny?"
The answer is "of course," and that is why audiences are still watching Chaplin's films today. The Circus is the last of Chaplin's silent comedies to receive the Blu-Ray treatment from Criterion, following The Kid, The Gold Rush, City Lights, and Modern Times, and while it may not be as famous as some of those masterworks, it remains a fascinating window into who Chaplin was an artist - representing some of his greatest innovation and his most personal artistic predilections. Criterion's Blu-Ray presentation is typically excellent, featuring in-depth explorations of the film's visual effects and interviews with Chaplin himself from the film's 1969 re-release, by then mostly a recluse. It's an interview tinged with sadness and regret, much like the film itself, a sad clown masterwork that masks its tears with a smile.