Sometimes great directors will sacrifice large box office numbers and the safety of good audience reception for projects they really believe in.  Depending on past success and status of the filmmakers, themselves, that luxury is often afforded to them with no real consequence, because even if the film is a flop, most will gloss over it as a blip on the radar and simply expect better in the future.  Many of these films are under-appreciated until years later, or really, never as they should be.  Charlie Chaplin made himself a prime example of this circumstance, when he decided to make Monsieur Verdoux, which was released by United Artists in 1947.  When anyone thinks of Charlie Chaplin, I can guarantee that this his films post-Great Dictator are never at top of mind, due to the fact that they do not feature his little tramp character. The Great Dictator, which was released in 1940, was final time you’d see him as that iconic character, as well as the only time that character would be in a film that was entirely in sound.  Chaplin held off making “talkies” until then, even though they had come into our film culture in 1927.  In the 9 years following the advent of sound films, he made CIty Lights in 1931 and Modern Times in 1936. Both were still silent films, However, Modern Times did have a few scenes with sound dialogue, but for the vast majority of it, was a silent picture.  When Chaplin finally relented and made The Great Dictator, which being released in 1940, was a full 13 years after the first sound film was released, he decided it would be the last time you would see the tramp character, because most of what made that character what he was, was his ability to communicate effectively through pantomime and facial expression. Fast forward 7 years from the Great Dictator, and you’re now in a post-WWII society that has endured nothing but pain, suffering, sacrifice and all-around horror, with the era finally being closed with the Nuremberg Trials in 1946.  The world, specifically the United States and Western Europe, where his new movie was widely released, was in the mood for lighter entertainment or gritty noir films that featured various heroes and their exploits, rather than anything resembling something that could be construed as horrific. 

Now that the atmosphere and attitude of the time is set, let’s get to what Chaplin had in mind for his new film, Monsieur Verdoux.  This film was based on a real-life French “Bluebeard” criminal Henri Landru. Bluebeards, for those who are not privy, are in this case, men who marry multiple times and murder their wives for personal and/or financial gain.  The idea to make this film was originally conceived by Orson Welles, who wanted Chaplin to be his lead, Henri Landru, renamed Henri Verdoux for the screen, as a part of a series of documentaries Welles wanted to do.  One documentary in the series being about Landru.  Initially, Chaplin was on board for this, because he could finally do a dramatic part, but as a little time passed and egos set in, Chaplin decided that he really did not want to act for another director in a film, being that he hadn’t acted under anyone’s direction since he first got his start acting for Mack Sennett and the Keystone Company all the way back in 1914, and never once in a full feature-length film.  So Chaplin dropped out of the project, but since a script still had not been written for the film, Chaplin remained quite interested in the idea and wanted to write the screenplay himself and turn it into a dark comedy.  Chaplin then contacted Welles and informed him that even though the production he had in mind would not be a documentary, he still would pay Welles for the idea. After a little negotiating, it was decided that Welles would receive a sum of money for the idea and a screen credit for the idea of the film.  Considering the legal battles Chaplin had been involved in for various, and mostly absurd reasons that made his public image suffer, plus the fact that he was going to make a film that had no tramp character for the very first time, it was already a gamble. Now add to it a plot that had a very dark and murderous tone (although still technically a comedy), during a time where the world had simply had enough of death in general, this was now going to be an extreme uphill battle.  Looking back now, I believe he had to know that he was setting himself up for critical failure, not only from the film critics themselves, but the fans who have watched him be one thing and love him for it, for so many years.  Nevertheless, away he went.  Now Chaplin was never the director Orson Welles was, but he did hammer out a decent script and with playing the lead, he would guarantee a quality performance for himself.  Again, Chaplin would direct, act in, produce and compose the music himself, as he had done for a long time now in all of his films, which always made for a longer production.  This was nothing Chaplin fans were strangers to.  He generally took five or six years between film releases.  Some was due to issues in his personal life, but most was attributed to his meticulous control over every aspect of the entire production, save for one aspect.  That aspect was the camerawork itself.  His cameraman for the film was once again Rollie Tetheroh, who had worked behind the camera for Chaplin ever since their time with the Essanay company.  This would be his final run with Chaplin as his director of photography, but he did come back as a consultant on the next film Chaplin made, Limelight in 1952.  Now Chaplin was obviously always the biggest star of his films, which with being a silent film star for the ages, was a walk in the park every time out, but now with him having to develop entire scripts that contained dialogue, he needed added support from his cast mates.  The largest co-star of any sound film he made was Paulette Goddard, who starred in his final silent film and first sound film.  This time, without Goddard, he needed to approach it in a different manner. He decided to go with a handful of character actors, who never had a starring roles in films and another comedian, who would play one of his “wives” late in the second act of the film.  This comedian was Martha Raye. Her physical talent, quick wit and unique voice, was just perfect for comedic banter with co-stars, and made her quite an adequate foil for Chaplin’s dastardly Verdoux in the film.  Chaplin really leans into the plotting sneakiness of the Henri Verdoux character. Taking his training and ability of pantomime from his silent days, to move around the screen in most of the scenes like a python just waiting to coil himself around his next victim.  This, plus his comical reactions to certain situations and his general humorous mannerisms, whether its counting money, or something as simple as climbing stairs, makes his performance as much as one can want from it. The film does depict his odious character in a more positive light, once it’s revealed what his true motivation for his actions are.  I believe this happens a little early in the film though.  I think he should’ve built a little more contempt for himself, while also maintaining the comedy, so the reveal of his motivation blindsides the audience, rather than give them a reason to somewhat offer absolution to his actions. But as I stated, this is all done prior to the second act and a bit early in my opinion. It is surprising to see Chaplin as this character though.  He commits some vile acts, albeit all off-screen, and then when you’re just about to turn on him, he shows a propensity for mercy and even reels you back in by using his comedic genius to make you remember that this is a guy you will always root for, even if he is presented as the anti-hero, as he is in this film. The end of this movie is easily the darkest of any film he ever made.  As he does in The Great Dictator, he makes a rather moving speech, that this time, isn’t anywhere near as uplifting.  Instead, it’s a foreboding warning of things to come in post-depression Europe, and he exposes the hypocrisy of those who are judging him as he sees it.  It’s a dark end to a dark comedy, but a comedy nonetheless.

As predicted, it wasn’t well-received by audiences or critics, but as the years have passed, it has garnered more respect from serious film fans. Still, it’s a movie that is floating under the radar, but should not just be viewed by any Chaplin fan, but also moviegoers in general.  Monsieur Verdoux is a fine film. Not a great film, but a fine film that deserves its just-do for the risk that was taken by the filmmaker who, by that time knew the deck was stacked against him and had to figure out how to move on after the most iconic and adored film character in all of cinema, that he created and cultivated, was now a thing of the past. Five years later he was unjustly exiled from the United States, just as he was releasing his next film, Limelight.  Things were never the same for him, but his post-tramp character films, deserve more of a look and a level of respect for what they were, rather than hapless attempts to recreate his magic from the silent era.