aka Charlie Chaplin's Burlesqueon Carmen (1916) (USA: complete title)

Chaplin’s critics at the time saw the film as communistic as opposed to humanistic, the latter being the director’s true intention. Key scenes are misread as serious commentary versus comedic folly: The Tramp is institutionalized for his on-the-job breakdown and released shortly thereafter with a clean bill of mental health. Back on the street, he sees a rear distance flag fall off a truck; he picks it up and chases after, waving the flag to get the driver’s attention. Around the corner behind him, a communist rally turns marching down the street, giving the impression that the Tramp leads the Red procession. Chaplin seems to be preemptively saying not to misconstrue Modern Times as a statement, which ironically is exactly what his critics thought, among them J. Edgar Hoover. The Tramp is caught and thrown in jail for his assumed demonstration, whereas off camera Chaplin’s political reputation would remain under an increasingly hot spotlight.

aka Charlie Chaplin's Burlesqueon Carmen (1915) (USA: complete title)

Charles Chaplin.  Paulette in the end, wanted a career, Chaplin wanted a wife.

Charles Chaplin, My Autobiography, 383.

Georgia Hale got the role instead and gained the distinction of being the first leading lady to replace Edna Purviance.

Charlie and Lita had two children during the marriage, Charles Chaplin Jr.

With Charles Chaplin, Paulette Goddard, Henry Bergman, Tiny Sandford

Asymmetrical in form, his derby hat rests upon his head at an angle, its slant accentuated by the straightness of his suspenders and the forced lines of his tight buttoned coat. Air fluffs his baggy pants, which seem to tighten like a balloon knot at his ankles, where his oversized shoes oblige his feet to point outward, causing him to waddle when he walks. Balancing himself, he carries a bamboo cane that retains his posture. Looking as though the once sweet life passed him by, his garb is tattered and his eyes dark, but his mustache is short and trimmed, and his demeanor is always gentlemanly. And yet, his good manners are married with a liberated sense of freedom and severance, displacing him as an outsider reliant only on his most human instincts. His appearance reflects this station, giving him an uneven silhouette, albeit immediately familiar and identifiable. This is the Tramp. This is Charles Chaplin. More than an iconographic image of early cinema magic, more than a comedic pantomime or sentimentalist director, Charlie Chaplin provoked thought with his tender comedies. His ingenious 1934 picture Modern Times confirms this by illustrating how the human condition drops in the wake of industry and technological advancement. His foreword: “Modern Times.” A story of industry, of individual enterprise—humanity crusading in the pursuit of happiness. Chaplin suggests the common man must not only fight for contentment, but in an industrial era combat against burgeoning commerce progressing each moment beyond the need for individuals.

Howeverboth "Limelight" and "Countess" featured beautiful musical scores createdby Charles Chaplin.

Charlie Chaplin | Welcome to My Magick Theatre | Page 4

Charlie Chaplin’s Modern Times, an entertaining piece at the surface, also serves as a political and social commentary criticizing the flourishing industrialization, commercialization, and commoditization of big-business America, which has developed at the expense of the everyday citizen.

Charlie Chaplin, at Home in Switzerland - The New York Times

Chaplin’s Modern Times criticizes the growing industrial and mechanical nature of society through hyperbolic actions by the main character and varying reactions thereafter.

A British subject until his death, Charles Chaplin was knightedby Queen Elizabeth in 1975.

CHARLIE CHAPLIN FBI FILES - Paperless Archives

Downey played Charlie in the movie 'Chaplin'.

There are people who may heard this song but still not know the melody was originally Charlie Chaplin's.

“Charlie Chaplin’s Perennial Tramp,” Boston Globe, 23 February 1936, A38.

MODERN TIMES (Charles Chaplin, 1936) | Dennis Grunes

Charlie Chaplin brings lighthearted humor to a serious social commentary in Modern Times with his uncanny depiction of an automatic feeding mechanism and a robotic factory worker, reversing the viewers’ normal expectations of the animate and the inanimate.

Masterpieces: Charlie Chaplin's City Lights | Mental Floss

In “Modern Times”, Charlie Chaplin utilizes humor based on extreme exaggeration, satire, and slapstick to highlight negative aspects of the blurring line between man and machine in a rapidly progressing society.