In this article, we will look at both character’s international reach. Additionally, we will analyse what makes their comedy so appealing worldwide.

Disclaimer

This analysis is not a defence of Charlie Chaplin’s horrendous crimes; it is merely concerned with the impact of his work.

International Reach

Firstly, how do you measure international success? Well, according to the BBC Mr Bean’s TV show was sold in around, “250 foreign territories,” and garnered, “a slew of international awards.” Additionally, the character’s two feature films collectively grossed over $400 million at the international box office. The films did particularly well across Western Europe, the USA, Australia, Japan and Brazil.

International box office numbers are harder to find for Chaplin’s films. That said, according to Chaplin biographer David Robinson his first feature film, The Kid, was shown in over 50 countries. With his profile only growing from there. His films received awards in Finland and Japan. He also has an international presence among artists. Figures like Federico Fellini (Italy), Jacques Tati (France), Jackie Chan (Hong Kong), Andrei Tarkovsky (Russia), Satyajit Ray (India), Idrissa Ouedraogo (Burkina Faso), Emir Kusturica (Bosnia & Herzegovina), Abbas Kiarostami (Iran) and more have praised or been influenced by his work. Thus showcasing his wide reach.

So what attracts audiences to these figures?

Universal Language

The most noticeable answer is their focus on silent physical comedy. Aside from some sparse dialogue both The Tramp and Mr Bean don’t talk. Instead, they rely on facial expressions and body movements to convey personality and the story. Their comedy is also focused more on choreographed slapstick. Audience laughter comes from the character’s exaggerated actions and reactions, the elaborately choreographed situations they find themselves in and the tension felt by audiences seeing more of a comedy setpiece than the characters.

This focus on comedy without words and instead on big displays of emotion and well-timed physical routines allows these figures to cross the language barrier because the focus is on feelings and visual storytelling not on dialogue. Making them more universal.

Relatable

But those qualities can be seen in many silent comedy stars, like Buster Keaton, Harold Lloyd and more. Is there anything unique about The Tramp and Mr Bean? Well, both characters live in relatable worlds. While both characters are played for comedy they also go through situations many of us can relate to. The Tramp is an underdog who comes from poverty. Many people across the world who are underprivileged can relate to the Tramp’s constant struggle to get by. Mr Bean also sources comedy from situations that many of us find familiar. Such as going to the swimming pool and struggling with the high diving platform or being terrified of a horror movie. These situations are relatable to many people across the world which allows us to be more involved with the comedic narrative.

Both are also rather childlike in their demeanour. They wear their emotions openly on their faces in a way that really makes you understand how they are feeling, are often oblivious to adult codes of decorum and conduct and seem to not be aware of the impact their actions might have on the world around them. However importantly their conduct is not done out of pure malice. Both characters feel like they just don’t know any better. Often they both act on impulse with solutions that would only really make sense to a child. They’re both essentially kids in situations everyone knows butting up against the rules of the world. Which is a feeling we all know, regardless of background.

Conclusion

In the end what makes The Tramp and Mr Bean so universal is the fact that they face the same trials as many of us, with an emotional innocence that we all recognise and they speak through their actions instead of words. These elements that speak to all of us are then elevated to the point of absurdity. Allowing us all, regardless of background, to laugh.

The post Comedy Across Cultures: The Universal Appeal of Charlie Chaplin and Mr. Bean appeared first on Big Picture Film Club.

In this article, we will look at several filmmaking techniques that were used in silent horror films. As well as how their influences can be seen in the modern horror landscape.

Jump Scares

Yes, even without sound some early horror films do feature proto-jump scares by having long build-ups to sudden cuts to images intended to scare audiences. Think of Orlok’s appearance outside the door (Nosferatu (1922)) and the Phantom’s facial reveal (The Phantom of the Opera (1925)). These scenes formed the beginning of a genre staple.

The introduction of startling loud sound stings to accompany the scare (Cat People (1942)) greatly added to the technique’s impact. Many modern horror audiences claim a dislike for jump scares, however, they can still be effective. With the best ones relying on building suspense and anticipation rather than using a loud noise for cheap shocks. Just like the old silent horrors.

Uncommon Shots

There was a lot of experimentation with how early films were shot. Some horror films used drawn-out wide shots to allow audiences to see everything in a film’s world (The Cabinet of Dr Caligari (1920). Other films used shots to place us in a character’s perspective or to break a scene’s standard framing (Nosferatu).

These techniques are now common in modern horror. Elongated shots help to build up tension. POV shots (among others) place us in a character’s perspective and build empathy or distrust. And the experimentation with shot types is done to promote a sense of unease. Additionally, the deployment of more mobile camera movement has enabled modern filmmakers more freedom to create shots that surprise audiences.

Shadows

Shadows have always been a great horror visual as they represent fear of the unknown. Thus they were a perfect tool for silent horror’s visual language. One of cinema’s most famous images is Count Orlok’s shadow ascending the stairs. Through the simple use of lighting to lengthen Max Schreck’s shadow Nosferatu makes Orlock into a horrifying unknown presence.

Shadows continue to be effectively used today. Whether it be indicating the imposing nature of villains like the Tethered or encouraging audience paranoia (The Woman in Black). But the advance in effects work also means shadows can be transformed in more ways than ever. Thereby allowing the cinematic fear of the unknown to be pushed even further.

Metaphorical Sets

German Expressionism was a huge part of early horror cinema. Among other things, it focused on creating art that externalised the anxiety permeating post-WWI Germany. Leading to set design that felt exaggerated, warped and unreal. Which helped to make viewers uncomfortable and allowed the more fantastical narrative elements of films like Cabinet of Dr Caligari and The Golem (1920) to feel less out of place.

Although many horror films now aim to capture a more realistic atmosphere the expressionist era still taught the genre that displaying internal emotions through the use of sets can greatly impact audience reaction. Think the expansive well-dressed sets of Hereditary invoking a doll’s house. Or Maud’s creepy, enclosed and dark apartment in Saint Maud.

Mixing Styles

Finally, silent horror also began blending stylistic devices to add a feeling of realism to their narratives with Haxan (1922). This film blended dramatised scenes with documentary techniques such as providing factual statements on title cards and showcasing historical artifacts in the manner of a lecture. Making the film’s subsequent dramatic parts feel like a dramatisation of factual material rather than a horror film.

Nowadays horror films utilise many other factual presentation techniques to make them appear more realistic. Such as using documentary footage (Dawn of the Dead (2004)), disclaimers/facts to invoke real people/events (The Conjuring and Tigers Are Not Afraid) and the employment of cinematography and performances meant to evoke news footage (found footage films). Techniques all stemming from Haxan’s inspiration.

Those are just some ways silent horror techniques have influenced the modern horror landscape. So if you think silent horror can never capture the scariness of modern films remember that silent horror helped pioneer many ideas modern horror films use to frighten us.

Also Read: Horrors On Horror Sets

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