Podcast appearances and mentions of charles spencer chaplin

Reciban un cordial saludo. Desde Cali (Colombia), les habla Sergio Luis López, compartiéndoles un nuevo episodio de "Así la escuché yo..." El cantante brasileño José Augusto se anotó un éxito musical en 1973 con la canción “Candilejas”. Así la escuché yo... José Augusto ya había grabado la canción ese mismo año de 1973, aunque en idioma portugués con el título “Luzes Da Ribalta”. La canción original es sólo instrumental y su autor es el famoso artista británico y estrella del cine mudo, Charles Chaplin, quien la compuso en 1952 para su película “Limelight”, titulada en castellano como “Candilejas”; cuya interpretación estuvo a cargo del también británico Frank Chacksfield, la cual es conocida bajo el título “Terry's Theme from Limelight”. Al año siguiente, se grabaron versiones a las que se les añadió letra. En inglés, por ejemplo, con letra de Geoff Parsons and John Turner fue interpretada inicialmente en 1953 por Dinah Shore con la orquesta de Vic Schoen, bajo el título “Eternally” (Eternamente). Como dato curioso, hay que decir que algunas personas creen que quien canta “Candilejas” es “O Rei” Roberto Carlos; pero, en realidad, el intérprete de esta canción es su compatriota José Augusto. ¿Y tú, sabías que Charles Chaplin es el compositor de “Candilejas”? Autor: Charles Chaplin (británico) - Versión al castellano Roberto Torres - Versión al portugués Antônio Almeida & João De Barro (brasileños) - Versión al inglés Geoffrey Parsons & John Turner (británicos) Candilejas - José Augusto (1973) “Candilejas” álbum (1973) José Augusto (nombre real José Augusto Cougil, brasileño)⁠ Luzes da Ribalta - José Augusto (1973) “José Augusto” álbum (1973) José Augusto (nombre real José Augusto Cougil, brasileño) Terry's theme (from Limelight) - Frank Chacksfield & Charles Chaplin (1952) “Limelight songs” Movie Soundtrack álbum (1952) Frank Chacksfield (nombre real Francis Charles Chacksfield, británico) Charles Chaplin (nombre real Charles Spencer Chaplin, británico) Eternally (from Limelight) - Dinah Shore (1953) single "Eternally/Blue canary"(1953) con Vic Schoen and his Orchestra Dinah Shore (nombre real Frances Rose Shore, estadounidense) ___________________ “Así la escuché yo…” Temporada: 8 Episodio: 49 Sergio Productions Cali – Colombia Sergio Luis López Mora

1916. Hollywood. Sur les planches, on demande à un jeune comédien à l'avenir prometteur d'improviser un personnage. L'homme attrape alors un costume et un haut de forme noirs, une cane, et il se dessine une petite moustache noire. Ainsi va naître l'un des personnages les plus emblématiques du cinéma. Son nom : Charlie Chaplin. De la misère à la gloire, découvrez sa True Story. De la misère... Charles Spencer Chaplin naît à Londres le 16 avril 1889. Ses parents, Charles et Hannah, sont deux artistes du music hall. Alors que Charlie n'a que 3 ans, il voit ses parents se séparer. Son père, alcoolique, décède très tôt d'une cirrhose. Quant à sa mère, Hannah, elle a la santé fragile. Elle se retrouve seule pour élever Charlie et son demi-frère, un enfant illégitime qui s'appelle Sydney. Quelques années plus tard, Hannah sera internée en asile psychiatrique. Les deux garçons vivent dans une extrême pauvreté et passent leur enfance dans des institutions pour jeune indigent. ... Aux planches Pour s'évader de cette vie de misère, Charlie se découvre une passion pour la musique. Il apprend en autodidacte à jouer du violoncelle, du violon et du piano. A seulement dix ans, Charlie rejoint la troupe de danseurs de claquettes les Eight Lancashire Lads, et commence ainsi sa carrière professionnelle. Pendant plusieurs années, le jeune garçon joue dans la pièce “Sherlock Holmes”. Il interprète le personnage du petit groom, Billy. La troupe se produit au prestigieux théâtre du West End à Londres. Pendant cette tournée, le petit Chaplin commence à se forger une réputation de comédien. Il devriendra alors l'un des comédiens les plus talentueux de tous les temps. La suite de son histoire incroyable à écouter dans ce podcast. Pour découvrir d'autres récits passionnants, cliquez ci-dessous : Le crash du vol Fuerza 571, l'une des pires tragédies humaines : un accident dramatique (1/4) Le crash du vol Fuerza 571, l'une des pires tragédies humaines : des restes humains comme dernier repas (2/4) Le crash du vol Fuerza 571, l'une des pires tragédies humaines : seuls en enfer (3/4) Le crash du vol Fuerza 571, l'une des pires tragédies humaines : l'expédition du dernier espoir (4/4) Première diffusion le 22 septembre 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices

ReconCinemation goes classic! This week, the team unites to look back at the brightest star from the silent era and the 1992 film chronicling his rise, CHAPLIN! Jon, David & Brent take a deep dive into Richard Attenborough's direction, the absolutely brilliant performance by Robert Downey Jr. as Charles Spencer Chaplin, the historical accuracy of the film, why so many people have wanted to watch the film but haven't, why the film didn't explode like many thought it would, early memories of the film, how it has aged today and so much more! He made the whole world laugh, cry and podcast... it's CHAPLIN!   Twitter/IG: @reconcinemation facebook.com/reconcinemation Cover and Episode Art by Curtis Moore (IG: curt986) Theme by E.K. Wimmer (ekwimmer.com)

In this first episode, host Aaron Strand takes us to Victorian London to meet a little boy named Charles Spencer Chaplin. His father was an alcoholic singer, and his mother was in and out of the insane asylum. Chaplin overcame these extraordinary circumstances, as well as repeated failures on and off the stage, finally becoming a well respected slapstick comedian... that's when Hollywood called.Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastJoin our weekly film club: https://www.instagram.com/arroyofilmclubProducer: Greg KleinschmidtPhotography: Lola ScottSources:‘Chaplin His Life and Art' by David Robinson'Chaplin: A Life' by Stephen Weissman‘Charlie Chaplin and His Times' by Kenneth S Lynn‘Tramp: The Life of Charlie Chaplin' by Joyce Milton,‘Charlie Chaplin: A Brief Life' by Peter Ackroyd‘Chaplin. Genius of Cinema' by Jeffrey Vance‘Wife of the Life of the Party' by Lita Grey and Jeffrey Vance‘My Autobiography' by Charlie Chaplin‘Charlie Chaplin's Own Story' by Charlie Chaplin and Rose Wilder Lanewww.discoveringchaplin.com Hosted on Acast. See acast.com/privacy for more information.

Hoy pasearemos, bastón en mano, por la procelosa biografía de Charles Spencer Chaplin, Charlot, el comediante que tuvo los santos cojones de hacer chistes sobre el desagradable de Hitler cuando este estaba vivo, que hacerlo ahora, sabiendo que ya no paga la factura del gas, es mu fácil. Chaplin nació en el seno de una familia de artistas y en el coseno de un campamento gitano cerca de Birmingham. Su padre, alcohólico, era actor y cantante y su madre actriz de MusicHall y varietés aunque nunca estuvo en el teatro imperial con Pedro Osinaga. Donde si estuvo la mujer varias veces fue en un psiquiátrico aquejada de delirios producidos por la depresión nerviosa que padecía. Así te puedes imaginar que la infancia del pequeño fuera más difícil que encontrarle unos zapatos que le estén buenos a Romay. Vivió en un orfanato y desarrolló todo tipo de trabajos que intercalaba con una incipiente carrera artística. Fue recadero, soplador de vidrio, vendedor ambulante y no pasó el casting de Ciudadanos para trincar puesto en la Junta de Andalucía por no llevar bien puesto el Rymmel en la entrevista. Así que pronto el muchacho hizo sus pinitos en el mundo del bodeville y la actuación en teatros, cafés y circos… dando más vueltas que Falete quitándose un sostén. Lo fichó una compañía con la que giró por toda Inglaterra y con la que cruzó el charco presentándose en Canadá, Nueva York y Filadelfia, donde descubrió el queso de untar. Hablando de descubrir, en esta gira le echó el ojo un productor de cine que lo fichó para sustituir al actor Ford Sterling, un actor que tenía siempre la cara de venir de abrir una carta certificada de Hacienda. Era la época dorada del cine mudo y la primera aparición del personaje de Charlot fue en una producción de 1914 llamada ‘Carreras Sofocantes’. Pese a que por el título pudiera parecerlo no va de los estudios de Pablo Casado. El personaje pronto caló en el público por presentar la imagen de un vagabundo de modales refinados, cándido y algo torpón… he dicho torpón, no Borbón. Torpón y Borbón que no hacen oximorón ¡Clan, clan! Firmó un contrato por 670.000 dólares de la época con una importante productora para rodar una docena de comedias, entre las que se encuentran: Charlot bombero, Charlot músico ambulante, Charlot en la tienda y la inédita, hasta ahora, Charlot en la oficina del español. Fundó junto a un grupo de colegas la productora United Artist, que aún existe, y con la que trató de escapar del monopolio de las grandes productoras y distribuidoras. Pese a la llegada del cine sonoro, Chaplin siguió haciendo cine mudo, porque para hablar largo y tendido ya llegaría años después Luis Bárcenas. Siempre se mostró muy activo en las opiniones políticas y en la película Monsieur Verdoux criticó al capitalismo y afirmó que el mundo alentaba las matanzas en masa mediante las guerras y las armas de destrucción masiva. Esto le ocasionó no pocos problemas y esta historia ya nos la sabemos aquí por lo del NO A LA GUERRA. Así que en 1953 y después de las presiones del Comité de Actvidades Antiamericanas que mantenía que su vida en Hollywood contribuía a destruir la fibra moral de América, Chaplin se exilió a Suiza donde vivió hasta el final de sus días en una parcelita con alberca que le había salido muy bien de precio. Ustedes siempre podrán recordarle cada vez que piensen que alguien es tonto por no abrir la boca o siempre que alguien trate de imponerles lo que tienen o no que pensar.

Ne-au întrebat mai mulți ce părere avem despre șefii de stat și pe cine am vedea noi șef de stat. Nu avem nici timpul și nici expertiza pentru a face o analiză amănunțită a ceea ce se întâmplă astăzi pe scena politicului, însă socotim că azi o propunere pe postul de șef de stat ...ar fi sir Charles Spencer Chaplin (dacă ar fi mai trăit, desigur).De ce?Ascultați un discurs de-al său din 1940 (!).Audiție plăcută!

No dia 16 de abril de 1889, nasce, em Londres, Charles Spencer Chaplin, personalidade que viria a ser uma lenda do cinema e o artista internacionalmente mais aclamado da primeira metade do século XX.Veja a matéria completa em: https://operamundi.uol.com.br/politica-e-economia/11286/hoje-na-historia-1889-nasce-em-londres-charles-chaplin----Quer contribuir com Opera Mundi via PIX? Nossa chave é apoie@operamundi.com.br (Razão Social: Última Instancia Editorial Ltda.). Desde já agradecemos!Assinatura solidária: www.operamundi.com.br/apoio★ Support this podcast ★

From music hall to Red Dwarf, pantomime to Absolutely Fabulous, we look at the history of British comedy, the names, shows, and historical events that made it what it is today. Like what you hear?  Become a patron of the arts for as little as $2 a month!   Or buy the book or some merch.  Hang out with your fellow Brainiacs.  Reach out and touch Moxie on Facebook, Twitter,  or Instagram. Music: Kevin MacLeod, Steve Oxen, David Fesliyan.  . Reach out and touch Moxie on Facebook, Twitter, or Instagram. Links to all the research resources are on the website. Podchaser: Moxie got me through 2,500 miles. I listened to every episode regardless of audio quality from the vault. I got my fix of facts with a personality that kept me entertained the entire time. I shared it with everyone I knew that would appreciate the facts, wit and hilariously subtle segues. Profile avatar 2 months ago byBoredatwork23 Book: David Nowlin 5.0 out of 5 stars Be prepared to be amazed at what you needed know, but did not. Reviewed in the United States on October 31, 2021 Great book. Read it cover to cover, but am planning to reread it again and again. It is so full of such wonderful pieces of information that I use to interject conversations whenever I can. Thank you Moxie for such a wonderful gift, and the book is great too Gift and merch “The story so far: In the beginning the Universe was created.  This has made a lot of people very angry and been widely regarded as a bad move.”  Thus begins Douglas Adams' Restaurant at the End of the Universe, sequel to his culture touchstone The Hitchhiker's Guide to the Galaxy.  That's the book that gave us the answer to life, the universe and everything, though not the question.  Welcome to episode number 42, which I have decided to devote to [drumroll] the history of British comedy.  That means we're going to try to cram hundreds of years, thousands of performers, and a dozen mediums into a half-hour show.  But don't panic.  My name's Moxie and this is your brain on facts.    British comedy history is measured in centuries, from chase scenes and beatings into Shakespeare's comedies to the misadventures of Mr. Bean.  Even as times, tastes, and technologies changes, some themes are eternal.  Innuendo, for example, has been a staple in the literature as far back as Beowulf and Chaucer, and is prevalent in many British folk songs.  King Charles II was such a fan of innuendo that he encouraged it to the point that Restoration comedy became not only its own genre, but an explicit one at that.  The repressive Victorian period gave us burlesque, though not in the same form as the shows you can see today - more vaudeville than striptease.  Absurdism and the surreal had always been an undercurrent, which firmly took root in the 1950's, leading Red Dwarf, The Mighty Boosh, and Count Duckula.  Though the British Empire successfully conquered ¼ of the globe, but its individual people struggled and suffered.  Plagues, wars, poverty, class oppression, and filthy cities gave rise to, and a need for, black humor, in which topics and events that are usually treated seriously are treated in a humorous or satirical manner.  The class system, especially class tensions between characters, with pompous or dim-witted members of the upper/middle classes or embarrassingly blatant social climbers, has always provided ample material, which we can see in modern shows like Absolutely Fabulous, Keeping Up Appearances, and Blackadder.  The British also value finding humor in everyday life, which we see in shows like Father Ted, The IT Crowd, and Spaced, which also incorporates a fair amount of absurdity.   But there's nothing the Brits do better than satire and nobody does it better than the Brits.  “The British, being cynical and sarcastic by nature do have a natural flair for satire,” says BBCAmerica.com writer Fraser McAlpine.  “There's a history of holding up a mirror to society and accentuating its least attractive qualities that goes back hundreds of years...Sometimes the satire is biting and cold, sometimes it's warm and encouraging, but if you want someone who can say a thing that isn't true, but also somehow IS true in a really profound way. You need look no further.”  There are three principal forms of satire.  Menippean satire uses fantasy realms that reflect back on modern society.  Everything from Alice in Wonderland to the works of Terry Pratchett fit here, as would Dr. Who.  Horatian satire skewers cultural moments of silliness using parodic humor.  These are the kind of thing you tend to see most of in comedy TV shows, like The Office.  We're laughing at people being inept and harassed, but not evil.  Juvenalian satire skewers everything with abrasive, often bleak, wit.  If there's an element of horror at the topic being discussed, that's a clue that it's Juvenalian.  John Oliver is a fair hand with Juvenalian satire.  Most political cartoon and black humor fall under this heading.   Though comedy is as old as laughter, we're going to begin today's time travel with the music hall.  (FYI, the narrative today is going to overall linear, but there will be a fair amount of bouncing around.)  Music halls sprang up as an answer to proper theater, which was at the time heavily monitored and censored by the government.  It took place in humble venues like the backs of pubs and coffee houses.  By the 1830s taverns had rooms devoted to musical clubs. They presented Saturday evening Sing-songs and “Free and Easies”. These became so popular that entertainment was put on two or three times a week.  Music in the form of humorous songs was a key element because dialogue was forbidden.  Dialogue was for the theater and if you had speaking parts, you'd be subject to censorship.  The Theatrical Licensing Act of 1737 empowered the Lord Chamberlain's Office to censor plays; this act would be in force until 1968. So, no speaking parts, less, though still some censorship.  Music halls also allowed drinking and smoking, which legitimate theaters didn't.  As the shows became more popular, they moved from the pubs into venues of their own.  Tavern owners, therefore, often annexed buildings adjoining their premises as music halls.  The usual show consisted of six to eight acts, possibly including a comedy skit (low comedy to appeal to the working class), a juggling act, a magic act, a mime, acrobats, a dancing act, a singing act, and perhaps a one-act play.  In the states, this format was essentially vaudeville.  The music hall era was a heyday for female performers, with headliners like Gracie Fields, Lillie Langtry, and Vesta Tilley.  The advent of the talking motion picture in the late 1920s caused music halls to convert into cinemas to stay in business.  To keep comedians employed, a mixture of films and songs called cine-variety was introduced.     The other critically important tradition of that era was panto or pantomime, but not the Marcel Marceau type of pantomime you might be picturing, but a type of theatrical musical comedy designed for family entertainment.  Modern pantomime includes songs, gags, slapstick comedy, dancing, and gender-crossing actors.  It combines topical humour with well-known stories like fables and folk tales.  It is a participatory form of theatre, in which the audience is expected to sing along with certain parts of the music and shout out phrases to the performers.  It's traditionally quite popular around Christmas and New Years.  In early 19th century England, pantomime acquired its present form and featured the first mainstream clown Joseph Grimaldi, while comedy routines also featured heavily in British music halls.  British comedians who honed their skills at pantomime and music hall sketches include Charlie Chaplin and Stan Laurel.  The influential English music hall comedian and theatre impresario Fred Karno developed a form of sketch comedy without dialogue in the 1890s, and Chaplin and Laurel were among the young comedians who worked for him as part of "Fred Karno's Army". VODACAST   Hopping back to famous ladies of music hall, one such was Lily Harley, though her greatest claim to fame is having given birth to Charles Spencer Chaplin.  When Lily inexplicably lost her voice in the middle of a show, the production manager pushed the five-year-old Charlie, whom he'd heard sing, onto the stage to replace her.  Charlie lit up the audience, wowing them with his natural comedic presence.   Sadly, Lily's voice never recovered, and she was unable to support her two sons, who were sent to a workhouse.  For those of us who don't know workhouses outside of one reference in A Christmas Carol, think an orphanage or jail with indentured servitude.  Young Charlie took whatever jobs he could find to survive as he fought his way back to the stage.  His acting debut was as a pageboy in a production of Sherlock Holmes.  From there he toured with a vaudeville outfit named Casey's Court Circus and in 1908 teamed up with the Fred Karno pantomime troupe, where Chaplin became one of its stars as the Drunk in the comedic sketch A Night in an English Music Hall.  With the Karno troupe, Chaplin got his first taste of the United States, where he caught the eye of a film producer who signed Chaplin to a contract for a $150 a week, equivalent to over three-grand today.   During his first year with the company, Chaplin made 14 films, including The Tramp, which established Chaplin's trademark character and his role as the unexpected hero.  By the age of 26, Chaplin, just three years removed from his vaudeville days, was a superstar.  He'd moved over to the Mutual Company, which paid him a whopping $670,000 a year to make now-classics like Easy Street.   Chaplin came to be known as a grueling perfectionist.  His love for experimentation often meant countless takes, and it was not uncommon for him to order the rebuilding of an entire set or begin filming with one leading actor, realize he'd made a mistake in his casting and start again with someone new.  But you can't argue with results.  During the 1920s Chaplin's career blossomed even more, with landmark films, like The Kid, and The Gold Rush, a movie Chaplin would later say he wanted to be remembered by.  We'll leave Chaplin's story while he's on top because his private life from here on out gets, in a word, sordid.   Though Chapin was English, his film were American.  British cinema arguably lagged decades behind, but they began to close the gap in the 1940's.  Films by Ealing Studios, particularly their comedies like Hue & Cry, Whisky Galore! and The Ladykillers began to push the boundaries of what could be done in cinema, dealing with previously taboo topics like crime in comedic ways.  Kitchen sink dramas followed soon after, portraying social realism, with the struggles of working class Britons on full display, living in cramped rented accommodation and spending their off-hours drinking in grimy pubs, to explore controversial social and political issues ranging from abortion to homelessness.  These contrasted sharply with the idea of cinema as escapism.  This was the era of such notable stars as actor/comedian/singer-songwriter Norman Wisdom.  Beginning with 1953's Trouble in the Store, for which he won a BAFTA (the British equivalent to an Oscar), his films were among Britain's biggest box-office successes of their day.  Wisdom gained celebrity status in lands as far apart as South America, Iran and many Eastern Bloc countries, particularly in Albania where his films were the only ones by Western actors permitted by dictator Enver Hoxha to be shown.  He also played one of the best characters in one of my favorite and most hard to find films, “The Night They Raided Minsky's.”   There are few institutions in British history that have had such a massive role in shaping the daily lives of British citizens as the British Broadcasting Corporation, which for decades meant the wireless radio.  “For many it is an ever-present companion: from breakfast-time to bedtime, from childhood through to old age, there it is telling us about ourselves and the wider world, amusing and entertaining us,” says Robin Aitkin, a former BBC reporter and journalist.  The BBC solidified its place in the public consciousness from its beginnings in 1922 to the end of the Second World War in 1945 is of special interest because these pivotal years helped redefine what it means to be British in modern society.  This was especially true during the high unemployment of the 1920's, when other forms of entertainment were unaffordable.  The BBC was formed from the merger of several major radio manufacturers in 1922, receiving a royal charter in 1927, and governmental protection from foreign competition made it essentially a monopoly.  Broadcasting was seen as a public service; a job at the BBC carried similar gravitas to a government job.  Classical music and educational programs were its bedrock, with radio plays added to bring theater to the wireless.  The BBC strove to be varied but balanced in its offerings, neutral but universal; some people found it elitist nonetheless.  Expansion in offerings came slowly, if at all, in the early years.     Trying to bring only the best of culture to the people meant that bawdy music hall acts had little to no place on the radio.  Obscenity was judged by laws passed as early as 1727.  British libel and slander laws are more strict than in the US, so making fun of public figures was taboo even in forms that would have been legal.  And blasphemy?  Lord, no.  In 1949, the BBC issued to comedy writers and producers the Variety Programmes Policy Guide For Writers and Producers, commonly known as "the Green Book."  Among things absolutely banned were jokes about lavatories, effeminacy in men, immorality of any kind, suggestive references to honeymoon couples, chambermaids, fig leaves, ladies' underwear, prostitution, and the vulgar use of words such as "basket".  (Not an actual basket, the Polari word “basket,” meaning the bulge in a gentleman's trousers.  More on that later.)  The guidelines also stipulated that "..such words as God, Good God, My God, Blast, Hell, Damn, Bloody, Gorblimey, Ruddy, etc etc should be deleted from scripts and innocuous expressions substituted."  Where the independently tun music halls gave people what they wanted, BBC radio gave people what it felt they needed.  But comedy writers are nothing if not clever and there is always a way to slip past the censors if you try.   In the very beginning of radio, comedies lampooned the poor, because only those with money had radios.  As radio ownership grew, the topics of shows broadened.  First half-hour comedy program in 1938, Band Wagon, included musical interludes, was effectively a sitcom and set the stage for much of what came after.  By then, nearly every household had a radio.   WWII had an enormous impact on British comedy and entertainment in general.  Unlike WWI, which was fought on the continent, WWII was right on top of them, with the Blitz, blackouts, rationing, et al.  All places of amusement, which by their nature meant lots of people would gather and could be a target for bombings, were closed.  But the government soon realized comedy had an important role to play in helping its people to keep calm and carry on.  Bonus fact: The iconic 'Keep Calm and Carry On' poster was designed months before WWII began, but was never officially sanctioned for display.  It only achieved its prominent position in the public imagination after its rediscovery in 2001.  All the parody t-shirts still annoy me though.   Theater was allowed to continue, but television service was suspended.  This brought radio back to the forefront for communication and diversion.  The most popular show was It's That Man Again, which ran on BBC radio from ‘39-'49.  It's humor was a great unifier during the war, helping people to laugh at the things they were scared of.  People would often listen huddled around their radio during a blackout.  In its character archetypes, it offered a more comprehensive range of social representation than what had come before it, with characters ranging from east end charwomen to the upper class.  It was so universally popular that supposedly its catch-phrases, which is regarded as the first to really succeed with, were used to test suspected German spies.  If you didn't know who said what, they'd be shot.      During the war, Britain fought back against the Nazi propagandists' ferocious scaremongering with things like a song about the fact that Hitler may or may not have only one testicle, the other of which we were storing in a London theatre for safe keeping.  This attitude, combined with having had enough authority to last them a while, would extend to their own government at the start of the 1960's when Peter Cook, Dudley Moore, Alan Bennett, and Jonathan Miller made fun of the prime minister in their stage show Beyond The Fringe, with the PM in the audience.  This would open the door for satirical news programs like 1962's That Was The Week That Was, grandfather to The Daily Show and The Colbert Report.  There was also The Frost Report, whose staff of writers included five names many of know well and you know we're going to get into more detail on - Chapman, Jones, Idle, Palin, and Cleese.   The war would remain subject to comedy, either as the primary setting or a recurring plot point for decades to come in shows like Dad's Army, Allo Allo, and even Are You Being Served?, one of my personal favorites.   If you've ever seen me at my customer service day jobs, I pattern my behavior on Mrs. Slocombe, though I don't reference my pussy as often. [clip]  Experiences in the war led to the prominence of absurdism/surrealism, because nothing could match what they men had been through.  One of the most famous example was The Goon Show, with Spike Milligan, Harry Secombe, and Peter Sellers.  The scripts mixed ludicrous plots with surreal humour, puns, catchphrases and an array of bizarre sound effects. Some of the later episodes feature electronic effects devised by the fledgling BBC Radiophonic Workshop, who also created the theme to Dr Who.  The Goon Show and other such programs were popular with those who were students at the time, seeding their sense of humor into the next generation.  Spike Milligan in particular had wide-reaching cultural influence.  The Goon Show was cited as a major influence by The Beatles, the American comedy team The Firesign Theatre, as well as, among many others, Monty Python.   PATREON   Do you remember how I said in episode #39, Short-Lived, Long Remembered that Jackie Gleason's Honeymooner's was the first TV sitcom?  I was mistaken and I don't mind issuing a correction.  Pinwright's Progress, which ran for ten episodes starting in 1946, was the first half-hour television sitcom, telling the tale of a beleaguered shop-owner, his hated rival and his unhelpful staff.  By 1955, ⅓ of British households had a TV.  That year saw the launch of ITV, I for independent, because it was *not run by BBC with its war vets with good-school educations, but by showmen and entertainers.  Where the BBC did comedies for and about the middle-class, ITV brought full-blooded variety to TV.  The BBC was forced to loosen its tie a bit to keep up.  ITV also had commercials, which BBC shows never did -a concept that is quite foreign to the American brain- so writers had to learn to pace their shows differently to allow for the break.  One stand-out was Hancock's Half-hour, which began on radio and moved to TV.  Fom 54-61, it pushed sitcoms with a focus on character development, rather than silly set-ups, musical interludes, and funny voices of radio plays.  Two writers on the show, Ray Galton and Alan Simpson, would leave to create Comedy Playhouse in 1961, ten half-hour plays.  One of these grew into the TV show Steptoe and Son (1962–74), about two rag and bone men, father and son, who live together in a squalid house in West London.  This was the basis for the American series Sanford and Son, as well as version in Sweden, Netherlands and Portugal.  For those not in the know, a rag and bone man collected salvageable rubbish from the streets, making it a bizarre name choice for a clothing company but oh well.    The tone and offerings changed considerably with the cultural revolution of the 1960's.  Rock music, the birth control pill, civil rights, everything was changing.  Round The Horne, which aired on BBC radio on Sunday afternoons was chock full of brazen innuendos and double-entendres.  Some of them were risque to the point of being ironically safe -- people who would have objected to them were not of the sensibility to catch the joke it the first place.  Their most remarkable characters were Julian and Sandy, two very obviously gay characters in a time when it was still illegal to be gay in Britain.  Julian and Sandy got away with the bawdiest of their jokes because they spoke Polari, a pidgin language made up a words from Romani, French, Italian, theater and circus slang and even words spelled backwards.  They might refer to someone's dirty dishes and the squares would have no idea that “dish” meant derriere.  Bonus fact: You probably use Polari words without even realizing it, if you describe a masculine person as “butch” or something kitchy as “camp,” even “drag” meaning clothes, particularly women's.    The Carry On Films, a franchise that put out nearly a movie a year for three decades and spun off a TV series, held up a cartoonish mirror to the depressed and repressed Britain of the 1950s and 1960s.  They blended the rapid-fire pace of music hall sketches with topicality and a liberating sense of directness.  Carry On also filled the gap left as music halls as an institution collapsed.   Monty Python's Flying Circus aired from 69-74 and enjoyed a unique watershed success not just for British comedy but also for television comedy around the world. Monty Python was unlike anything that had appeared on television, and in many ways it was both a symbol and a product of the social upheaval and youth-oriented counterculture of the late 1960s.  The show's humour could be simultaneously sarcastic, scatological, and intellectual.  The series was a creative collaboration between Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin, and Terry Gilliam, the sole American in a group of Oxford and Cambridge graduates.  The five Brits played most of the roles, with Gilliam primarily contributing eccentric animations.  Although sketch comedy shows were nothing new, television had never broadcast anything as untraditional and surreal, and its importance to television is difficult to overstate.  Their free-form sketches seldom adhered to any particular theme and disregarded the conventions of comedy that writers, performers and audiences had been accustomed to for generations.  Even the opening title sequence didn't follow the rules; it might run in the middle of the show or be omitted entirely.  Over the run of the series, a *few characters recurred, but most were written solely for one sketch.  The show spun-off a number of feature films, like Monty Python and the Holy Grail (1975), Life of Brian (1979), and the Meaning of Life (1983) and even a Tony Award-winning musical comedy Spamalot, first produced in 2005, as well as books and albums like Instant Record Collection.  Decades after the show's initial run, the mere mention of some dead parrots, silly ways, Spam or the Spanish Inquisition is enough to prompt laughter from even casual fans.  All the members who continue on to successful careers, but let's follow John Cleese to his next best-known project.  I put my favorite sketch in Vodacast; see if you can guess it before you look.  And tell me yours, soc med.   Fawlty Towers has been described as the sitcom by which other sitcoms must be measured, voted number one in the BFI's 100 Greatest British Television Programmes in 2000. Its main character, Basil Fawlty, was inspired by a seethingly rude hotel proprietor John Cleese encountered while filming abroad with the Monty Python team.  Cleese actually tested the character on another show in 1971, Doctor At Large, a comedy about newly-graduated doctors, based on the books of Richard Gordon.  The setting for Fawlty Towers was a painfully ordinary hotel that Basil constantly struggling to inject a touch of class into.  His escapades included trying to hide a rat from a hygiene inspector, keeping a dead customer hidden, and pretending that his wife Sybil was ill during their anniversary party, when in fact she's walked out on him).  Basil was the perfect vehicle for Cleese's comic talents: mixing the biting verbal tirades against his wife and guests with the physical dexterity utilised to charge about between self-induced disasters.  Part of the success of the show is arguably the fact that it ran for a mere twelve episodes, so never ran out of steam.  It's been remade in other countries, but those version never really capture the success of the original.  That's one of the key differences between British and American TV series.  A British show might have 2 writers for a season of 6-10 episodes, whereas an American show will have a team of writers for a season of 13-25 episodes.  Quality over quantity, I suppose.  In part, this is a reflection of the difference between the size of the TV audience in the two countries, and the economics of television production; for decades sitcoms on US television that delivered the highest ratings, whereas; in Britain the highest ratings figures were normally for soap operas.   The tone shifted again as the 60's gave way to the 70's.  The anger of 60's revolution gave way to a more comfortable feeling in the 70's.  One of the stand-outs of the decade, which continued into the 80's, was The Two Ronnies.  A sketch show starring Ronnies Barker and Corbett, it moved away from the long-standing comic and straight-man format.  It was the BBC's flagship of light entertainment, the longest running show of its genre.  If we're talking modern comedy duos, we need to talk about Dawn French and Jennifer Saunders.  Even in alternative comedy scenes, women had trouble gaining the same notoriety as their male peers.  A step in the right direction was 1987's French and Saunders, a sketch show that displayed the wilful amateurishness of much alternative comedy, but shunned both the violence and scatology or the strident politics that were staples of the big-name performers.  The duo's humour was distinctively female, but not feminist, and most of their jokes were at the expense of themselves or each other.  As audiences and budgets grew, the pair increasingly favoured elaborate spoofs of pop stars and blockbuster movies.  After the show French starred in The Vicar of Dibley and Saunders to the role she's probably best known for, Edina in Absolutely Fabulous.   And that's where we run out of ideas, at least for today.  Don't be surprised if this topic spawns a sequel.  I left out Punch and Judy, skipped right over literature, had to forgo luminaries like Morecambe and Wise, didn't get to the panel show format, and said nothing of Stephen Fry and Hugh Laurie, which may actually be a crime, I'm not sure.  Well, it's like they say in the biz, always leave them wanting more.  Thanks for spending part of your day with em.     Sources: https://www.iwm.org.uk/history/truth-behind-keep-calm-and-carry-on https://www.theguardian.com/stage/2016/feb/17/the-five-stages-of-british-gags-silliness-repression-anger-innuendo-fear https://en.wikipedia.org/wiki/The_Goon_Show https://en.wikipedia.org/wiki/Norman_Wisdom https://en.wikipedia.org/wiki/Hancock%27s_Half_Hour https://www.theguardian.com/commentisfree/2008/apr/17/gender.filmnews https://en.wikipedia.org/wiki/Round_the_Horne http://www.screenonline.org.uk/film/id/1011109/index.html https://www.britannica.com/topic/Monty-Pythons-Flying-Circus https://en.wikipedia.org/wiki/Galton_and_Simpson http://www.bbc.co.uk/comedy/fawltytowers/ http://www.bbcamerica.com/anglophenia/2014/06/history-brits-better-satire https://www.britannica.com/art/music-hall-and-variety https://www.biography.com/people/charlie-chaplin-9244327 https://cupola.gettysburg.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1107&context=ghj https://www.youtube.com/watch?v=U77CXPANrCc&list=PL9e1sByp65ixpMQlW9hpMMdomwSwGK9-Y

Charles Spencer Chaplin foi um ator, comediante, diretor, compositor, roteirista, cineasta, editor e músico britânico. Chaplin foi um dos atores da era do cinema mudo, notabilizado pelo uso de mímica e da comédia pastelão. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/josemar-barboza-da-costa/message Support this podcast: https://anchor.fm/josemar-barboza-da-costa/support

Charles Spencer Chaplin foi um ator, comediante, diretor, compositor, roteirista, cineasta, editor e músico britânico. Chaplin foi um dos atores da era do cinema mudo, notabilizado pelo uso de mímica e da comédia pastelão. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/josemar-barboza-da-costa/message Support this podcast: https://anchor.fm/josemar-barboza-da-costa/support

Tandis que les premiers films parlants font leur apparition… 1928, son film Le Cirque, est annoncé comme un échec. Le statut et la carrière de Charles Spencer Chaplin commenceraient-ils à vaciller dans cette Amérique puritaine? Laurent Seksik, scénariste niçois est aussi médecin et écrivain. Il nous livre le 2e tome de sa BD "Chaplin Prince d'Hollywood ", publié en février 2021, avec le dessinateur David François, aux éditions Rue de Sèvres. Laurent Seksik est lʹinvité de Pierre-Philippe Cadert.

1916. Hollywood. Sur les planches, on demande à un jeune comédien à l’avenir prometteur d’improviser un personnage. L’homme attrape alors un costume et un haut de forme noirs, une cane, et il se dessine une petite moustache noire. Ainsi va naître l’un des personnages les plus emblématiques du cinéma. Son nom : Charlie Chaplin. De la misère à la gloire, découvrez sa True Story.De la misère... Charles Spencer Chaplin naît à Londres le 16 avril 1889. Ses parents, Charles et Hannah, sont deux artistes du music hall. Alors que Charlie n’a que 3 ans, il voit ses parents se séparer. Son père, alcoolique, décède très tôt d’une cirrhose. Quant à sa mère, Hannah, elle a la santé fragile. Elle se retrouve seule pour élever Charlie et son demi-frère, un enfant illégitime qui s’appelle Sydney. Quelques années plus tard, Hannah sera internée en asile psychiatrique. Les deux garçons vivent dans une extrême pauvreté et passent leur enfance dans des institutions pour jeune indigent.... Aux planches Pour s’évader de cette vie de misère, Charlie se découvre une passion pour la musique. Il apprend en autodidacte à jouer du violoncelle, du violon et du piano. A seulement dix ans, Charlie rejoint la troupe de danseurs de claquettes les Eight Lancashire Lads, et commence ainsi sa carrière professionnelle. Pendant plusieurs années, le jeune garçon joue dans la pièce “Sherlock Holmes”. Il interprète le personnage du petit groom, Billy. La troupe se produit au prestigieux théâtre du West End à Londres. Pendant cette tournée, le petit Chaplin commence à se forger une réputation de comédien. Il devriendra alors l'un des comédiens les plus talentueux de tous les temps.La suite de son histoire incroyable à écouter dans ce podcast.Pour découvrir d'autres récits passionnants, cliquez ci-dessous : Aokigahara, la plus étrange des forêts du mondeJames Matthew Barrie, l’auteur qui ne voulait pas grandirHannah Gadsby, une humoriste si différente See acast.com/privacy for privacy and opt-out information.

Charles Spencer Chaplin foi uma lenda da comédia na era do cinema mudo, além de ator, foi diretor, compositor, roteirista, produtor e editor. Atuou em grandes obras como "Luzes da Cidade", "O Grande Ditador" e "Tempos Modernos", este último filme, por ele produzido, marcou o fim da era do cinema mudo. O ExpressoCast tem o orgulho de trazer neste episódio o quadro "Expresso Cultural" onde é comentado o filme "Tempos Modernos". Siga o Expresso Libertário no Instagram: @expressolibertario

La littérature jeunesse n'est pas un genre mineur. Il a ses propres récompenses comme le Prix Gulli, pour les 7-13 ans, le Prix Vendredi, qui concerne un lectorat plus adolescent, et les Pépites du Salon de la littérature Jeunesse de Montreuil en novembre-décembre. Les albums qui concernent les plus petits doivent bien entendu procurer du plaisir aux adultes sinon ils ne les liront pas à leurs enfants ! Alors Marie-Claire vous donne quelques titres de livres qu'elle a lus et appréciés depuis la rentrée de septembre. Comme par exemple un tout petit album, édité par l'Ecole des Loisirs, en collection Mouche, Je m'appelle Maryam, écrit par par Maryam Madjidi qui adapte là son premier roman, Marx et la poupée, paru au Nouvel Attila. Cet album est concentré autour d'un extrait de son autobiographie, où la petite fille qui y est représentée balance entre Ici et Là-bas (l'Iran) et apprend à jongler entre deux cultures et deux langues. Clémentine du Pontavice, déjà auteure jeunesse avec Truc de fille ou de garçon ? propose un nouvel opus qui poursuit son interrogation sur la différence avec Seul(s) au monde ? dont le message vise à déculpabiliser. Ses bonhommes sont des taches de couleur qui prennent vie sous nos yeux. On a presque le sentiment qu'ils nous parlent chacun d'une voix particulière … Dans La Cavale, de Ulf Stark chez Pastel, illustré par Kitty Crowther on raconte avec pudeur et humour les derniers jours de la vie d'un grand-père qui s'enfuit avec son petit-fils dans un récit plein de tendresse. Le Prix Gulli a récompensé cette année Sam de Bergerac, de Sarah Turoche-Dromery, aux Editions Thierry Magnier. Ce livre sensible, bien construit et bien écrit, est très drôle aussi s'inspire évidemment de l'aventure de Cyrano de Bergerac. Avec Les Mots d'Hélio Nancy Guilbert et Yaël Hassan (Magnard Jeunesse) aborde le thème du secret de famille de façon originale à travers la renaissance d'un ado, orphelin de père, qui suite à un traumatisme crânien, ne réussit presque plus à communiquer. Ce roman est facile à lire, plein d'humour et de tendresse. Passons au-dessus de 13 ans avec Rebecca Lighieri (qui est prof de lettres dans un lycée de banlieue). Éden, qui est son premier roman pour la jeunesse car jusque là elle écrivait pour les adultes. Elle s'est inspirée de tableaux de Jérome Bosch pour imaginer l'espace dans lequel son héroïne voyage dans le temps. Le récit est clairement militant à propos de questions d'écologie et d'égalité tout en étant très surréaliste, et bien entendu parfaitement écrit. Deux ouvrages qui conviendront autant aux très grands enfants qu'aux adultes. Avec la sortie de la Saison 5 de Sauveur et Fils dans lequel Marie-Aude Murail est toujours très engagée à défendre l'égalité homme/femme mais aussi la vie si difficile des agriculteurs. Elle continue de dénoncer ceux qui utilisent les réseaux sociaux pour nuire à autrui. L'humour demeure néanmoins et on découvrira que la clientèle du psychologue semble évoluer, suite à des recommandations d'un employé de Jardiland qui le conseille en tant que comportementaliste animalier. Et puis la magnifique BD Chaplin en Amérique de Laurent Seksik et David François, publié par Rue de Sèvres, qui relate à partir d'octobre 1912 l'histoire de Charles Spencer Chaplin (né il y a 130 ans). Surtout, rappelez vous, comme le disait Marie-Aude Murail, les livres sont comme les épinards. On n'est pas obligé de les finir mais il faut les gouter.

La littérature jeunesse n’est pas un genre mineur. Il a ses propres récompenses comme le Prix Gulli, pour les 7-13 ans, le Prix Vendredi, qui concerne un lectorat plus adolescent, et les Pépites du Salon de la littérature Jeunesse de Montreuil en novembre-décembre. Les albums qui concernent les plus petits doivent bien entendu procurer du plaisir aux adultes sinon ils ne les liront pas à leurs enfants ! Alors Marie-Claire vous donne quelques titres de livres qu’elle a lus et appréciés depuis la rentrée de septembre. Comme par exemple un tout petit album, édité par l’Ecole des Loisirs, en collection Mouche, Je m'appelle Maryam, écrit par par Maryam Madjidi qui adapte là son premier roman, Marx et la poupée, paru au Nouvel Attila. Cet album est concentré autour d’un extrait de son autobiographie, où la petite fille qui y est représentée balance entre Ici et Là-bas (l'Iran) et apprend à jongler entre deux cultures et deux langues. Clémentine du Pontavice, déjà auteure jeunesse avec Truc de fille ou de garçon ? propose un nouvel opus qui poursuit son interrogation sur la différence avec Seul(s) au monde ? dont le message vise à déculpabiliser. Ses bonhommes sont des taches de couleur qui prennent vie sous nos yeux. On a presque le sentiment qu'ils nous parlent chacun d'une voix particulière … Dans La Cavale, de Ulf Stark chez Pastel, illustré par Kitty Crowther on raconte avec pudeur et humour les derniers jours de la vie d’un grand-père qui s’enfuit avec son petit-fils dans un récit plein de tendresse. Le Prix Gulli a récompensé cette année Sam de Bergerac, de Sarah Turoche-Dromery, aux Editions Thierry Magnier. Ce livre sensible, bien construit et bien écrit, est très drôle aussi s’inspire évidemment de l’aventure de Cyrano de Bergerac. Avec Les Mots d’Hélio Nancy Guilbert et Yaël Hassan (Magnard Jeunesse) aborde le thème du secret de famille de façon originale à travers la renaissance d’un ado, orphelin de père, qui suite à un traumatisme crânien, ne réussit presque plus à communiquer. Ce roman est facile à lire, plein d’humour et de tendresse. Passons au-dessus de 13 ans avec Rebecca Lighieri (qui est prof de lettres dans un lycée de banlieue). Éden, qui est son premier roman pour la jeunesse car jusque là elle écrivait pour les adultes. Elle s'est inspirée de tableaux de Jérome Bosch pour imaginer l'espace dans lequel son héroïne voyage dans le temps. Le récit est clairement militant à propos de questions d’écologie et d’égalité tout en étant très surréaliste, et bien entendu parfaitement écrit. Deux ouvrages qui conviendront autant aux très grands enfants qu’aux adultes. Avec la sortie de la Saison 5 de Sauveur et Fils dans lequel Marie-Aude Murail est toujours très engagée à défendre l’égalité homme/femme mais aussi la vie si difficile des agriculteurs. Elle continue de dénoncer ceux qui utilisent les réseaux sociaux pour nuire à autrui. L'humour demeure néanmoins et on découvrira que la clientèle du psychologue semble évoluer, suite à des recommandations d'un employé de Jardiland qui le conseille en tant que comportementaliste animalier. Et puis la magnifique BD Chaplin en Amérique de Laurent Seksik et David François, publié par Rue de Sèvres, qui relate à partir d'octobre 1912 l'histoire de Charles Spencer Chaplin (né il y a 130 ans). Surtout, rappelez vous, comme le disait Marie-Aude Murail, les livres sont comme les épinards. On n’est pas obligé de les finir mais il faut les gouter.

Una bombetta, dei vestiti logori, un bastone, dei baffetti e una camminata sgraziata: sono questi semplici elementi che hanno fatto di Charlot il vagabondo più famoso del mondo. Comincia così, con la creazione di un personaggio iconico, l'inarrestabile ascesa di Charles Spencer Chaplin, stella del cinema muto e artista dal carisma intramontabile. Da "La febbre dell'oro" a "Tempi Moderni", da "Il Grande Dittatore" a "Luci della Ribalta", Chaplin ha fatto la storia del cinema. Non molti sanno però che dietro ogni risata, ogni gag esilarante, ogni trovata geniale, c'è un uomo intelligente e a tratti introverso, un uomo che non dimentica le sue umili origini e che cerca disperatamente il grande amore. Quella di Charlie Chaplin è una vita segnata dal genio e da un grande interesse verso i più deboli, gli emarginati. Perché anche lui si sentirà sempre un po' come loro, solitario nonostante la folla adorante. Autore: Simona Capodanno Playlist Drunk on the moon - Tom Waits Start me up - Rolling Stones Video killed the radio star - BugglesIl costo della vita - Enrico Ruggeri Smile - Nat King Cole Mad at you - Joe Jackson Bad boy - Mink DeVille Opinioni di un clown - Andrea Miró

PODCAST CINE | CHARLIE CHAPLIN ET LE MUET.Retrouvez dans ce balado ciné l'histoire de Charles Spencer Chaplin, dit Charlie Chaplin. Retrouvez aussi toutes les comédies internationales au cinéma dans l'émission CinéRires présentée par Eric Desmet.L'émission existe aussi en vidéo sur la chaîne YouTube de CinéMaRadio.Tout sur l'acteur, réalisateur, scénariste, producteur et compositeur britannique qui devint une idole du cinéma muet grâce à son personnage de Charlot. Né à Londres, le 16 Avril 1889, de son vrai nom Charles Spencer Chaplin, il va révolutionner à la fois le cinéma et la comédie et être l’unes des premières stars adulées du public, dans le 7ème art.Recruté en 1914 par l’inventeur des courts métrages muets, Mack Senett, pour ses prouesses acrobatiques qu’il tenait de sa formation dans les troupes théâtrales Anglaises, Chaplin va vite évoluer et créer son personnage de Charlot, l’éternel vagabond avec le Chapeau et la canne.Il devient très vite populaire, ce qui fait qu’un an plus tard, il est engagé par la société de production Essaney pour jouer dans des bandes qu’il réalise et écrit lui-même.C’est là qu’il va affiner son personnage et créer son style cinématographique, certes moins riche et percutant que celui de Buster Keaton, mais plus orienté sur ses performances de mimes et d’acrobate, et surtout, sur l’émotion.Pendant une année, il va faire 15 films dont Charlot Boxeur ou le Vagabond.Puis il signe avec la Mutual en 1916, pour plus d’argent et surtout, encore plus d’indépendance artistique.C’est sa meilleure époque, car non seulement il met en place des gags de plus en plus élaborés, mais il privilégie de plus en plus l’émotion et le contexte social, comme dans l’émigrant ou Charlot arrive en Amérique en bateau et découvre que la terre promise n’est l’est pas tant que ça. Une œuvre très autobiographique donc.Puis de 1916 à 1923, il réalise 9 moyens métrages pour la First National, ou drame et comédie cohabitent en parfaite harmonie, comme dans une vie de chien, Charlot Soldat, le pèlerin et surtout Le Kid.Le succès de ces chef d’œuvres lui permettent de créer sa propre société de production avec d’autres stars du muet, la United Artists, et ainsi de passer aux longs métrages.On peut citer la ruée vers l’or en 1925, et sa célèbre danse des petits pains.Mais aussi le cirque en 1928.Quand le cinéma devient parlant à la fin des années 20, Chaplin se met en pause mais réalise encore deux films, les lumières de la ville en 1931, et les temps modernes en 1936.Par provocation contre le changement du média, ces deux films sont également muets, même s’ils comportent des effets sonores.Contre toute attente, ce sont 2 gros succès, et deux grands chef d’œuvres également, surtout le deuxième, critique inspirée et hilarante de l’ère industrielle.Chaplin finira néanmoins par passer au parlant en 1940, avec le Dictateur, film génial dont je parlerais dans une autre chronique.Contrairement aux autres stars du muet, Chaplin est le seul à être resté aussi populaire après le parlant, voire même plus.S’il a pris ses distances avec le public américain, c’est surtout pour ses prises de position politiques, qui l’on notamment contraints de partir des Etats-Unis, et de s’exiler en Angleterre.Fait encore plus étonnant, si les autres comiques du muet sont maintenant tous oubliés du grand public, seul Chaplin est encore connu aujourd’hui, même par les jeunes, grâce à des dessins animés ou des clips de Dance.Voila, je vous donne rendez-vous très bientôt pour une nouvelle chronique et surtout, n’oubliez jamais de rire parce-que personne ne le fera à votre place.Eric Desmet

PODCAST CINE | CHARLIE CHAPLIN ET LE MUET. Retrouvez dans ce balado ciné l'histoire de Charles Spencer Chaplin, dit Charlie Chaplin. Retrouvez aussi toutes les comédies internationales au cinéma dans l'émission CinéRires présentée par Eric Desmet. L'émission existe aussi en vidéo sur la chaîne YouTube de CinéMaRadio. Tout sur l'acteur, réalisateur, scénariste, producteur et compositeur britannique qui devint une idole du cinéma muet grâce à son personnage de Charlot. Né à Londres, le 16 Avril 1889, de son vrai nom Charles Spencer Chaplin, il va révolutionner à la fois le cinéma et la comédie et être l’unes des premières stars adulées du public, dans le 7ème art. Recruté en 1914 par l’inventeur des courts métrages muets, Mack Senett, pour ses prouesses acrobatiques qu’il tenait de sa formation dans les troupes théâtrales Anglaises, Chaplin va vite évoluer et créer son personnage de Charlot, l’éternel vagabond avec le Chapeau et la canne. Il devient très vite populaire, ce qui fait qu’un an plus tard, il est engagé par la société de production Essaney pour jouer dans des bandes qu’il réalise et écrit lui-même. C’est là qu’il va affiner son personnage et créer son style cinématographique, certes moins riche et percutant que celui de Buster Keaton, mais plus orienté sur ses performances de mimes et d’acrobate, et surtout, sur l’émotion. Pendant une année, il va faire 15 films dont Charlot Boxeur ou le Vagabond. Puis il signe avec la Mutual en 1916, pour plus d’argent et surtout, encore plus d’indépendance artistique. C’est sa meilleure époque, car non seulement il met en place des gags de plus en plus élaborés, mais il privilégie de plus en plus l’émotion et le contexte social, comme dans l’émigrant ou Charlot arrive en Amérique en bateau et découvre que la terre promise n’est l’est pas tant que ça. Une œuvre très autobiographique donc. Puis de 1916 à 1923, il réalise 9 moyens métrages pour la First National, ou drame et comédie cohabitent en parfaite harmonie, comme dans une vie de chien, Charlot Soldat, le pèlerin et surtout Le Kid. Le succès de ces chef d’œuvres lui permettent de créer sa propre société de production avec d’autres stars du muet, la United Artists, et ainsi de passer aux longs métrages. On peut citer la ruée vers l’or en 1925, et sa célèbre danse des petits pains. Mais aussi le cirque en 1928. Quand le cinéma devient parlant à la fin des années 20, Chaplin se met en pause mais réalise encore deux films, les lumières de la ville en 1931, et les temps modernes en 1936. Par provocation contre le changement du média, ces deux films sont également muets, même s’ils comportent des effets sonores. Contre toute attente, ce sont 2 gros succès, et deux grands chef d’œuvres également, surtout le deuxième, critique inspirée et hilarante de l’ère industrielle. Chaplin finira néanmoins par passer au parlant en 1940, avec le Dictateur, film génial dont je parlerais dans une autre chronique. Contrairement aux autres stars du muet, Chaplin est le seul à être resté aussi populaire après le parlant, voire même plus. S’il a pris ses distances avec le public américain, c’est surtout pour ses prises de position politiques, qui l’on notamment contraints de partir des Etats-Unis, et de s’exiler en Angleterre. Fait encore plus étonnant, si les autres comiques du muet sont maintenant tous oubliés du grand public, seul Chaplin est encore connu aujourd’hui, même par les jeunes, grâce à des dessins animés ou des clips de Dance. Voila, je vous donne rendez-vous très bientôt pour une nouvelle chronique et surtout, n’oubliez jamais de...

Ator, diretor, produtor, humorista, empresário, escritor, comediante, dançarino, roteirista e músico. Falar sobre Charles Spencer Chaplin é falar sobre a formação do cinema. Um dos mais famosos personagens na era do cinema mudo e pastelão, Chaplin abriu uma trilha para a evolução da sétima arte e, de tão importante, merece dois programas no Osmozzy: sim, dois. E essa é a primeira parte. Ouça, comente e participe. Neste programa você ouvirá: › Saulo Mileti, editor-chefe do Osmozzy e CCO da Colosseo › Bruno Fontanezi, publicitário Estude com o Osmozzy: › Em menos de um mês nossos cursos de Design, Estética e Direção de Arte acontecerão em São Paulo. E no final de agosto teremos aulas de História da Arte. Para mais informações: http://osmozzy.com.br/arena Nos ajude a divulgar e melhorar esse programa: › Assine nosso Feed: http://feeds.feedburner.com/osmozzy › Siga-nos no http://www.facebook.com/osmozzy › Acompanhe http://www.twitter.com/byosmozzy › Conheça os bastidores em http://www.instagram.com/osmozzy Indique aos seus amigos e participe do próximo episódio com o envio de e-mails, sugestão de pauta, de convidados e críticas sobre tudo o que foi falado nessa edição. Nosso e-mail é podcast@osmozzy.com.br. Aguardamos vocês. Toda semana, um novo episódio.