Review of Monsieur Verdoux

Chaplin's career is often separated into his silent era and his sound era, and it is generally recognized that talking actors wasn't the only change to his films. During the war years, film stock was limited, even to the most famous of directors. So Chaplin, infamous for his exorbitant number of takes, had to exchange meticulousness in selecting which cut to use for meticulousness in the planning of the film from the start. And it shows, especially in this film. The haunting staircase shots, the gorgeous interiors, and dialogue as clever as ever was written. His sound films were also less episodic, any gags are brief and contribute more to the plot than any of his silent ones.

But there is a continuity throughout his entire career. Tragedy and comedy really aren't that different; both are rooted in human emotion and often accentuated by circumstances and coincidences. In an early film, it would all culminate in a hilarious climax. Here, it is coincidence that gets him caught.

And he still simply loves being in front of the camera. Except, instead of turning and shrugging at the camera or some other more explicit gesture, we get subtle glances.

His monologues from his sound films will always stand out, but this film has Chaplin's best moments as a director (the staircase shot of the first murder), as a comedic actor (when he thinks he's been poisoned), and as a writer (the scene in the boat).

5 out of 5 - Essential