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City Lights Clippings 122/387

Philip Carr, Guardian, Manchester, England, July 2, 1930.

CHARLIE CHAPLIN dans LES LUMIERES DE LA

VILLE, le nouveau film pour la presentation duquel le grand

artiste est venue en Europe.

(...) Ciné-Miroir Cover, Paris, March 20, 1931

„Charlie Chaplin, when he looks straight at the camera“

Editorial content. „THE DRAMA AND THE KINEMA.

      A Paris Controversy.

      By Philip Carr.

      A debate of some interest has been carried on during the

last few weeks in the columns of several newspapers

in Paris. The subject is the talking film, its future artistic possibilities

and its probable influence upon the art and the popularity

of the theatre.“ (...)

      „The film, on the other hand, puts every spectator in the

same relative position towards the actor and the scene,

and Charlie Chaplin, when he looks straight at the camera,

looks straight even at a member of the audience who

is sitting at the side.“ (...)

      „The presence of actor and audience face to face, the

one reacting on the other, is indispensable to drama,

and that is why true drama will never be created either by

a talking film, however perfect its mechanism, or

by any future combination of television and broadcasting.

Something else may be created, something very

interesting and even moving in its way; but it will not be the

way of dramatic art – though Charlie Chaplin already

exists to prevent one‘s saying that it will not be art at all.“ (...)

      

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