Chaplin and Keaton, Against the norms
...e pain inflicted upon himself while he is unsuccessfully trying to achieve something. Unlike Chaplin, Keaton’s acts tended to be more situational. He encouraged laughter based on the unlikely events which befell him, usually concerning a malfunctioning mechanical device, or environmental disruption to achieve his gags. Another aspect of Keaton’s comedy, is his ability to slowly build up a gag, then concluding it after its anticipated pinnacle. Next, a very distinctive characteristic of the character whom Keaton plays is that he always has a straight and somber face, unlike most other comedians, it is very uncommon to see this man smile or even grimace on screen. Furthermore, films by this director differ even further from those of Chaplin, as Keaton frequently uses the long shot, displaying many other, carefully timed antics in the background. Lastly, Keaton’s character is often going out of his way to conform to society. He works diligently to become the normal personality of society, and eventually in the end, achieves this goal. Even more, Keaton’s films tend to conclude with him winning the girl over, and the two of them surviving happily together. There is not nearly as much concentration on character development in his films as there is in Chaplin’s. Similar to the format of the classical Hollywood film, the primary character in Modern Times is a goal-oriented man. The tramp for one, meets a young vagrant girl, and as per usual, his goal is to make this girl happy, to help her out financially and domestically, as she is homeless. Chaplin goes out of his way, in and out of jail and employement solely to have enough money to secure a home for himself and this young orphan. Meanwhile, Keaton’s character in his 1923 film Our Hospitality is likewise a goal-oriented man. However, his goals seem to change, and become more and more difficult to obtain as he finds himself in more and more serious predicaments. Initially, he is a young man, traveling from New York to a small farm town in Kentucky, where he hopes to obtain a large lot which his father granted to him in his will. Thus, his first goal is to achieve this home, and finally feel financially secure. Unfortunately, not only is the lot exceptionally undesirable, but he finds himself caught in a tragic love story, as he falls in love with a daughter of the mortal enemies of his family. His goals then intensify from accumulating land, to winning over the girl whom he met on the train, then eventually, to simply staying alive while being shot at and chased by his father’s enemies. Another element of the classical Hollywood narrative is the closure which the primary character seeks throughout the film, and eventually achieves at its conclusion. This is in fact where Modern Times differs from the rest of Chaplin’s films. Usually the tramp is seen walking away aimlessly and alone at the finale of the movie, however, in this particular case, the tramp departs not alone, but along with the young vagrant girl. Like other Chaplin films, the tramp does not conform to the norms of society, but in fact realizes his ultimate goal as he has finally found someone with whom he can defy the expectations of society with. On the other hand, Keaton usually concludes his films in a more simplistic and audience appeasing manner. Not only are his characters frequently vying for a girl above their social class, but they are also battling against the girls father who will do anything to keep this couple apart. Unlike Chaplin, Keaton’s women seem to fully appreciate his clumsy and diehard nature, moreover, it is usually in a gag filled conclusion that he wins the girls heart. In fact, as seen in Our Hospitality the events leading up to the films finale are all linked with Keaton acting as the hero to the girl. She gets trapped within the battle between her family and her love, and is isolated in a nearly mortal situation when Keaton’s character discovers her. Through a mix of gags and clumsy antics, Keaton is able to act as the girls hero, eventually winning her over, and ultimately marrying her before the film concludes. Keaton’s personality, the urban young gentleman, has been granted closure, as he not only gains the love of the woman, but also achieves his more imperative goal, to remain alive. The narrative structure, or basic plot-line of a story appears to be and most likely is the most imperative factor of a film. However, in many films, most often seen in comedies such as those created by the silent comedians, directors will use shots and ideas that seem to have no significant relevance to the development of the story. In some cases this can be attributed to the directors desire to continue a gag or joke until it’s final, and most hysterical peak. However, in other situations, this may be blamed on a director either taking a joke too far, or stepping out of character and playing around simply to make the audience laugh. From one angle, it is arguable that all of Chaplin’s antics flow with the narrative in a cause and effect manner, that one scene displays ideas or situations linking it to following one and so forth on. However, in many instances, it seems as though Chaplin changes out of his character as the tramp, and becomes almost himself, Charlie Chaplin the man. An example of such is noted in Modern Times in many occasions, however, one which seems to be the most apparent is seen during the scenes in the department store. At one point, Chaplin dons roller-skates, and demonstrates his talents for the young girl, feverishly, and dangerously skating around an upper floor of the building. Many times throughout this scene, after Chaplin decides to cover his eyes, he comes perilously close to the edge of the balcony, which of course has no railing or support to keep him from toppling off to the lower floors. This scene seems to drag on as he is consistently acting out the exact same joke on every round he makes. Furthermore, him skating around the store is simply displaying how fun the tramp is as a ...