Chaplin Books

like to suggest that the fundamental way, conscious or not, in which we determine the quality of a film is by the degree to which the re-experiencing of ourselves coincides with our pride, our shames, our hopes, our honour.

Continually awaiting an answer to, or a satisfaction of, their deepest needs, they are nonetheless always disappointed;

tries to inject the bracing truth that, from start to finish, life isn’t very dramatic after all.

Scenes are related in his films, not by causality or in order to create a crisis, but as illustrations of a state of being.

e must simultaneously put us outside his characters to show their errors and inside them so that we do not dismiss them as fools.