L.A.’S Biggest Film Festival Returns with Films About Occupations, Voting and Protests

From Peter Middleton and James Spinney (NOTES ON BLINDNESS), comes a uniquely crafted portrait of iconic physical comedian Charlie Chaplin, creator of silent cinema’s loveable “tramp.” Featuring rare and never-before-heard recordings and introducing characters from Chaplin’s life who had been previously written out of the narrative, THE REAL CHARLIE CHAPLIN brings to life a complex, multi-dimensional image of the world-renowned comedian. This dynamic broad-strokes account of his ascent touches on the major moments of his lengthy career, notably shining a light on the complexities and the darker aspects of his personality. It also offers an appreciation of Chaplin’s films themselves, providing an introduction to the uninitiated. The film’s skillful entwining of reenactments with archival materials presents new possibilities for nonfiction filmmaking. – Malin Kan

The AFI Fest returned to Hollywood for live, in-person screenings and events, although there was also a virtual component for watching many of the feature, documentary, short, indie, studio, and foreign productions that Los Angeles’ largest annual film festival is presenting in 2021. Some of the screenings were accompanied by talent who introduced and/or spoke about their films when they were shown at the TCL Chinese Theatres in Hollywood. Here are reviews of some of the films I saw:

THE REAL CHARLIE CHAPLIN – The Reel and Real Little Tramp

My favorite film at AFI this year was The Real Charlie Chaplin, co-directed by Peter Middleton and James Spinney, who co-wrote the almost 2-hour biopic with Oliver Kindeberg. The highest compliment I can pay this documentary that traces the rise and fall and rise of the eponymous screen comic is that Real is worthy of its subject who, of course, was one of motion pictures’ great pioneers.

Chaplin’s rags to riches saga is told in a highly cinematic way, using never-before-heard-in-public rare recordings, clips from Chaplin’s classics such as 1921’s The Kid, 1931’s City Lights and 1940’s The Great Dictator, special effects, archival footage, home movies, reenactments, and interviews with intimates, including several of the children Charlie had with his fourth and final wife, Oona O’Neill, plus some interviews that The Hollywood Reporter reports are staged.

The film delves into the private life of what was at the time the most famous man in the world, including his penchant for youthful females. A couple of Chaplin’s ex-wives have excoriating comments.

Real also sheds new light on the politics of this champion of the underdog, which caused Chaplin’s downfall in Hollywood during the Blacklist/McCarthy era. Chaplin is heard making eyepopping (or “ear-popping”) comments about communism that I’d never been aware of before. The Tramp’s advocacy for the poor – after all, Charlie’s alter ego was a homeless hobo and Chaplin suffered much during his impoverished childhood in London – plus purported scandals forced the English-born superstar into exile. He became the Red Scare’s most high-profile Hollywood exile, and landed, in style and with aplomb, at a wonderful estate in Vevey overlooking Lake Geneva, in the French-speaking portion of neutral Switzerland.

As Real shows the aging Englishman lived out his days there in a sort of splendid isolation, but with the patriarch surrounded by his many children and Oona, who is always depicted, like here, as a loving wife and mother. (For some strange reason Real never bothers to mention that Oona’s father just happened to be Eugene O’Neill, who had as much impact on theater as Charlie did on cinema. The documentary also never specifically states that the posh Swiss chateau the Chaplins lived in for about a quarter century has been converted into a stellar movie museum, possibly the world’s best reliquary of vintage filmdom. See: Charlie Chaplin: Hollywood's Political Exile -

After relocating to Switzerland around 1951, the brilliant auteur only wrote/directed/produced and acted in two more films, which are given short shrift in Real. However, Chaplin’s 1958 A King in New York is the only English language to have explicitly, directly taken on the Hollywood Blacklist and House Un-American Activities Committee. I don’t believe Real even mentions Chaplin’s cinematic swan song, 1967’s A Countess from Hong Kong, starring Marlon Brando and Sophia Loren (with Charlie in a droll cameo), which is likewise overlooked by most movie historians. Although this film historian believes critics and fans shouldn’t count Countess out and should give it a second look.

Be that as it may, there are extended clips from other Chaplin masterpieces, and Real provides some fresh insight during its cinematic stroll down movie memory lane. For instance, according to the documentary the attic set in The Kid where the Tramp is forcibly separated from his adopted abandoned son (played by little Jackie Coogan, who grew up to portray Uncle Fester on the 1960s TV series The Addams Family) by the authorities was designed by Charlie to replicate the space he grew up in in poverty, watching his mother progressively deteriorate. Another behind the scenes peek provided by Real is how Chaplin creatively struggled to film a key scene in City Lights.

But Chaplin’s antifascist tour-de-force The Great Dictator is given pride of place and his rabblerousing speech as a Jew mistaken for Hitler – arguably the cinema’s best political oration in the English language – is heard, and still mustered some applause from the AFI (or should I say Antifa?) aud.

I love and highly recommend The Real Charlie Chaplin, which provides a penetrating portrait of one of the geniuses who co-invented and shaped the silver screen. This documentary is a must-see for Chaplin fans and lovers of film history, and will play on Showtime.


All in-person screenings and events during the AFI Film Festival took place Nov. 10-14 at the TCL Chinese Theatres in Hollywood. For more information see: AFI FEST .