AFS Essentials Presents Monsieur Verdoux

Like a petulant child, there is sometimes nothing more maddening, or refreshing for that matter, than a visionary sticking their tongue out at the proverbial establishment and wagging it proudly in the wind. One can only hope post-taunting to have their person intact; their tongue still whole and residing again safely between a full set of upper and lower teeth. Unfortunately, this is seldom the case and most often we find our antihero laying prostrate on the floor, picking up the remnants of their kicked in teeth.

Such is the case with the beloved/reviled Charlie Chaplan and his surprisingly topical message flick Monsieur Verdoux, which will once again see the light of day thanks to the Austin Film Society and their continuing essential cinema series Making the World Laugh: Global Comedy. Released originally in 1947, Monsieur Verdoux was pulled from theaters within a month of its premier after being mowed down by critics and audiences alike, highlighting questions of Chaplin's patriotism more brightly than questions of his artistic prowess.

Henri Verdoux (of course played by Chaplin) is a Perraultian Bluebeard, who, after being nixed from his job as a bank teller, provides for his ailing wife and young child by charming, marrying and subsequently offing independently wealthy femmes, collecting the spoils in the wake of their wakes. You see, Mr Verdoux sees murder as nothing more than a business proposition, and if large corporations can fill mass graves and their pockets at the same time, then why shouldn't he be able to follow in lock-step, albeit on a much smaller and more personal scale? If we can fight big, useless wars so that corporations that make the tools of the trade can become richer and fatter, then all the better for capitalism, no? Far from being evil, Herr Verdoux simply wanted his little piece of all-American pie.

Dark and satirical, Monsieur Verdoux was resurrected from its cinema grave in 1964, at which time it struck a resounding chord with a nation that had torn itself to tatters over an unpopular war. Here again, at a time when our nation is tearing itself apart because it doesn't like the other's skin color/military leanings/house size/education level/vernacular/heritage/and all other manner of inconsequential and altogether situational human characteristics, Chaplin's film incites the masochistic tendencies in all of us, implicating us (yes, you and me) as the reason for everything that is wrong with society. Tongue wagging shall re-commence in 3...2...1...

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Comments (2) [rss]

I've been told on several occasions that I am what is wrong with america today. And honestly, it feels pretty good.

Chaplan is a lead leet in the ways and sooths of the marxist in all thinking peoples.

I think '64 may be a bit early in the nation-tearing-apart sweepstakes.

Elder baby-boomers have rambled on and on about the post-Kennedy youthful idealism that still held sway until later in the sixties (when Bobby Kennedy and MLK were assassinated and heads were broken in Chicago).

Chaplin was unassailably wonderful. Sounds like a cool flick.

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