A KING IN NEW YORK

UK, 1957, 110 minutes, Black and white.
Charles Chaplin, Maxine Audley, Jerry Desmonde, Oliver Johnston, Dawn Addams, Sid James, Michael Chaplin.
Directed by Charles Chaplin.

A King in New York was considered with great hostility at the time of its release. In the early 1950s, Chaplin had been refused re-entry into the United States from Europe and considered to be hostile because of his unwillingness to testify in the anti-communist hearings. This film is Chaplin’s reply. It is interesting to note that later generations, taking new assessment of the Mc Carthy era (seen in such films as The Front and Good Luck and Goodnight, Guilty By Suspicion) have reassessed the film favourably.

Chaplin acts as a king of a European country, exiled because of communism, who comes with his queen for a holiday in the United States. They arrive in New York – and experience all the aspects of the America of the 1950s, especially television and music, food and the intellectual set. Chaplin is able to take these particular aspects for targets of humour.

However, he meets a young boy (played by his son Michael), the son of communist parents, who is called before the hearings. His parents are blamed for being communist, he embraces their ideals, but they are imprisoned. Chaplin is called on to testify and is treated with hostility – but later exonerated.

Chaplin had had a long career, especially with his short films in the silent era, breaking through to feature films in the 1920s with The Kid, The Circus and The Gold Rush. His films from 1930 were not particularly numerous, City Lights and Modern Times in the 30s, The Great Dictator, his attack against Hitler, and M’sieur Verdoux in the 50s, Limelight and A King in New York in the 50s. His attempt to make a successful popular film in the 1960s, A Countess from Hong Kong, was not a popular or critical success.

With hindsight, audiences will be able to see this film in the canon of Chaplin’s films and appreciate his style, techniques, humour. It can also be reassessed according to the fresher looks at the period which Lillian Hellman called scoundrel times.

1. The last of Chaplin’s films featuring himself? At the age of 66? The end of his acting career in films? The qualities of earlier Chaplin films in terms of comedy, characterization, themes? Chaplin’s experience of disapproval by America, left sympathies? The blending of slapstick comedy with satire? The film as seen decades later?

2. Expectations of character and comedy styles from Chaplin? How were they fulfilled? His observation of human nature? The fifties theme and his treatment of it?

3. The background of the European Revolution, his ironic comments on it, the king and his wealth? The satire on European monarchs and monarchies?

4. The presentation of America as the haven? America in the fifties? The hope for all those migrating there? And yet while he was making his speech , the finger prints being taken etc.? (Was Chaplin in his praising of America indicating that this was the permanent state of affairs or something temporary?)

5. The situation of Shahdov? The irony of his having been robbed by his Prime Minister? The loyalty of his ambassador meeting him? His keeping a brave face to the press and the public? His facing the reality in private?

6. How well delineated was the character of Shahdov? A Chaplin character? How much did he invest Shahdov with his own characteristics: short, the little man, the nice man? More than a conventional presentation? His relationship with the queen and her presence? Their break? The possibility of reconciliation? His genuine devotedness to her, her exasperation with him? The fifties and King Shahdov’s atomic plans? His optimism about the future, America as the place to fulfil theme?

7. Chaplin's picture of America in the fifties as seen by the derelict European monarchs, the visit to the cinema, to the dance, to the hotel, music? How much of a new world, boisterous, full of the young in which the old couldn't cope? How well did Chaplin integrate his special comedy sequences into these parts?

8. The character of Ann Kay and her attractiveness and charm? The bath and the invitation to dinner? The irony of his being on television? The comedy in his performance of Hamlet? How was Shahdov being mocked, being made the victim of American commercialism? Ann Kay as the representative of this?

9. The character of Ann, the clashes with King Shahdov, their encounters, his charming her, her relenting, how satisfactory was the resolution? Indicating the possibility of a resolution with the Americans?

10. The presentation of the Progressive School, the satire on school films and school masters, the classroom sequences? Rupert as a boy, as a prodigy? His place in the school and people's reaction to him, his encounter with the king?

11. The king's discovery of Rupert being broken, the Communist background? The overtones of concentration camp and torture? The irony of this presentation of horrors in America?

12. Shahdov and the ironic presentation of enquiries as regards un-American activities? Shahdov and his having to name names? The ironies in presenting a boy as a dangerous person? Chaplin reaction in dousing everyone with the hose?

13. How hopeful was the ending? Chaplin not giving up hope? The fact that he made a comedy of this theme? How successful the various comedy routines? How successful the ironic overtones of America and his own experience?