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Looking For Charlie – The Breakdown

Production Diary #2 - The Breakdown

Looking For Charlie – “The story of the suicidal clowns who inspired Charlie Chaplin and Buster Keaton”

 

Concept

We all know Charlie Chaplin, Buster Keaton, Laurel & Hardy, and Harold Lloyd.  Their films made them immortal.  But what about the generation of comedians who inspired those silent-era luminaries? What about the comedians who commanded the vast stages of the New York and London Hippodromes, who inspired and delighted, but were forgotten when new and innovative comedies, which they helped to inspire, hit the big screen? Looking For Charlie: Or, The Day The Clown Died is the story of Marceline Orbes and Francis ‘Slivers’ Oakley, a pair of once-legendary Edwardian comedians who entertained millions, inspired silent-era superstars Charlie Chaplin and Buster Keaton, but who died in obscurity by their own hands.  The film explores the overlapping lives of Orbes, Oakley, Chaplin, and Keaton, asking questions about the psychological and social pressures faced by the people who make it their life’s work to make us laugh.  Looking for Charlie is a personal journey and exploration of the forgotten comedians who set the tone for a century of laughter.

 

Ensemble

The film primarily explores the interlocking and overlapping lives and experiences of Marceline Orbes, Francis ‘Slivers’ Oakley, Charlie Chaplin, and Buster Keaton.

  • Marceline Orbes – c. 1873-1927.  An ‘august’, Marceline’s clown makeup was minimalist; his emphasis was upon ‘pathos’, the building of a sympathetic relationship between performer and audience.  He was a star at the London Hippodrome before he took up a decade-long at the New York venue of the same name.  In the early 1900s he worked with a young Charlie Chaplin who would recall the encounter in vivid and unusual detail decades later in his autobiography.  Orbes attempted to make the transition to the Silver Screen but his film, Mishaps of Marceline (1915), failed to gain market traction. He attempted to enter the restaurant business in the late 1910s but those endeavors also failed.  His later return to show business was not a success. Shortly after his wife left him in 1927, Orbes shot himself in the head.

Learn More – ‘Silent Film Killed the Clown: Recovering the Lost Life and Silent Film of Marceline Orbes, the Suicidal Clown of the New York Hippodrome, 1905-1915’ by Darren R. Reid

 

  • Francis ‘Slivers’ Oakley – 1871-1916.  Oakley built his reputation with the Barnum & Bailey circus, working in an outlandish set of costumes and makeup. His signature act, ‘The Baseball Game’, an one-man pantomime, helped to make him a star on the stage of the New York Hippodrome.  Like Orbes, with whom he would team-up for a double-act on the stage, Oakley became a well known fixture of the stage, gaining a nationwide reputation as a result.  In 1916, following a sudden downturn in his career and the failure of a problematic relationship, Oakley locked himself in his room and gassed himself to death.

 

  • Charlie Chaplin, 1889-1977.  One of the most important figures in the history of film, Chaplin is best known for his work in the silent era though later films such as The Great Dictator (1940) and Limelight (1952) demonstrate that he was just as able when it came to constructing dialogue-driven films.  Chaplin’s career was explosive and, at times, controversial.  His ‘Tramp’ character became a trans-generational icon but he was unfairly exiled from the United States during the McCarthy era.  Chaplin elevated cinematic comedy to an art form.  The roots of his method are to be found on the stages of the British Music Hall scene.  As a child he worked with Marceline Orbes and his latter-day masterpiece, Limelight, told the story of an aging stage-clown dealing with a failed career.

Learn More – ‘Chaplin on Marceline’ in My Autobiography by Charles Chaplin

Learn More – ‘5 Minute Documentary – The Birth of Chaplin’s Tramp’

 

  • Buster Keaton, 1895-1966.  Under appreciated throughout much of his career, Buster Keaton’s life was defined by some dizzying heights and tragic lows.  His film The General widely considered to be one of the greatest comedies ever made and his career has been widely celebrated since the 1960s.  Like Chaplin, Keaton was a fan of Marceline Orbes.  He was also enamored with the work of Francis ‘Slivers’ Oakley, who he would remember  decades later as ‘the greatest clown’.  In his film The Cameraman (1928) he would recreate Slivers’ signature routine, ‘The Baseball Game’ (over a decade after Oakley’s suicide).  In 1952 he appeared with Chaplin in film Limelight in a sequence where the main character finally, and counter-to-reality, is able to reconnect with his audience one last time.

 

Why This Film?

The making of Looking For Charlie has been a long, emotional, and involving experience into which the filmmakers have poured their hearts.  Their journey to discover meaning for the lives of Marceline and Slivers has been a personal one which has continually informed the evolving shape of the film.  Our piece is not a straight forward biography but a film which explores the psychological hardships faced by comedians in any age.  We are not making this movie to tell a life story – we are making this movie to understand, in some small way, how we can make sense of any life, how we can give it narrative meaning.  That journey will be a part of this film because we believe honesty in documentary making to be a vital part of the process.

Learn More – ‘Thoughts on Honesty and Documentaries’ Production Diary #1

Learn More – ‘Introducing Looking for Charlie’ – Video Introduction to the Film

 

Why Any Film?

There are many ways to explore the lives and importance of early performers like Marceline and Slivers, Chaplin and Keaton.  Books, articles, stage plays -all can accomplish that exploration in one way or another- but film offers a range of possibilities beyond those other mediums.  The first is irony.  The coming of sophisticated, cinematic comedy did much to destroy the careers (and ultimately lives) or Marceline and Slivers.  And without film, without a record of their performances, they remain little remembered.  Using film to explore their lives provides an opportunity to reflect further upon the power of that medium.  The second major possibility of film is our ability to engage with our subjects and their lives in a more personal way.  The process of making this film has been long and difficult, entwining our subjective selves with our larger intellectual journey.  Film offers us the opportunity to integrate that subjective discovery of truth.  Finally, film offers a visual language which will allow us to explore our subjects in a sophisticated, intelligent way by layering symbols; visuals, music, commentary.

 

Journeys

Provisional work on Looking For Charlie began in late 2014 before the commencement of active production in March 2015.  With the assistance of a brilliant crew made up of students from Coventry University, filming took place in New York (USA), London and Birmingham (UK), Berlin, Munich, and Nuremberg (German), Kingston (Jamaica), and Hong Kong (China).  The film is both a critical biography and a personal journey.

  • Following the completion of shooting in New York, the filmmakers experimented with a wide range of colour-grading options before settling on a black-and-white look for the finished production.  Such a look was originally resisted by the filmmakers until new test footage showed swayed them.
  • Students who took part in the film worked as actors, camera operators, animators, assistant directors, sound recordists, production assistants, and runners.
  • As production progressed, the filmmakers were forced to confront their own subjective engagement with the stories they wanted to tell.  Elements of that journey which help to expand the main discussion will be included in the final film.
  • Making memories – more than stories, important examples Slivers’ and Marceline’s art were recreated for the film:
    • In Central Park, New York the crew recreated a version of Slivers’ long lost signature routine, ‘The Baseball Game’.
    • A team of animators produced a stop-motion animated recreated of one of Marceline’s popular routines from the London Hippodrome.
    • Other animations include a short film telling the tragic stories of Marceline’s life.  Live action interactions between Marceline and Slivers, and Marceline and his wife, were also shot for the film.  Scenes with a young Buster Keaton were also shot.
    • Aside from appearing in the main feature in various forms, complete short films of these recreations will accompany the main film as extra features.
  • The film is currently in the last phase of its production and is due to enter post-production by late October 2015.

 

Want/See

Looking For Charlie is currently in production and will be released in 2016.  A very early teaser trailer can be viewed by Clicking Here.  An introductory video can be viewed below.  As production wraps and post-production begins, more content from the film will be released on the run-up to its release.  The teaser trailer and introductory video provide only very early insights into the project.  A new series of promotional videos are planned for release during post-production, providing a much more accurate look of the final film.

 

Learning

Discover more about the lives and importance of some our principle subjects from this earlier series of video podcasts:

  • 5 Minute History: The Birth of Chaplin’s Tramp

 

  • Charlie Chaplin’s The Immigrant – Film with new Audio Commentary and Analysis


‘Since the author once again puts the ancient masks on stage, he wishes to resume the old customs in part…A nest of memories was singing one day in the depths of his soul, and he wrote with real tears’ – ‘Si può?’ from Ruggero Leoncavallo’s opera I Pagliacci

 

Following the Project

This website will post updates on Looking For Charlie, including this series of production diaries.  For more immediate updates you can follow me on Twitter @ThatHistorian or search for #LookingForCharlie.



6 responses to “Looking For Charlie – The Breakdown”

  1. I love Charles Chaplin and all his movies Chaplin was a genus and professional comedian no words can say he was in his won right as a producer writer director star he also form a company a company that will rid of contact studio control with the help of DW griffin Mary Pickford and DOUGLAS FAIRBANKS they form UITED ARTISTS they broke the studio system for artist director producers to have a source in their films to have a completed control of their movies

  2. Edgarsito says:

    I adore Buster and I am constantly leaninrg so much from his films. They demonstrate elegance, simplicity (even when they are incredibly complex, they APPEAR simple and often the humor comes from finding a simple answer to a complex problem), perfect and inventive gag structure, and are unendingly funny, no matter how many times you see them. Who else from that era makes people laugh and gasp even in our jaded times? there is a reason modern audiences connect to Buster moreso than to Chaplin or Lloyd (much as i love those two). But more than anything it is the consistency of Buster’s work that astounds me. In the 20s, when he was in control of his work and his destiny, he had a streak of creativity and genius unparalleled. Even his worst film from the era- short or feature- is head and shoulders above almost anyone else. What MGM did to him is tragic. But he doesn’t age. The General and Sherlock Jr don’t diminish with time or repeat viewings.

    • We just did a great interview with a well respected critic and I brought Buster up with him. When I asked him why people today still relate to Buster (whilst Keaton didn’t connect that well with audiences when his films were released) he said it was precisely because Keaton was so stone faced and ironic in his delivery (jaded, perhaps) that his work still echoes today. I thought that was a great point.

  3. […] Documentary films can be many different things.  On one end of the spectrum are dry, PBS-sytle educational films and biographies.  Straight forward narratives which seek to define truth for the viewer, not challenge it. They inform but they rarely provoke.  On the other end of the spectrum, documentary films can provide deep personal explorations, considered portraits, and they can challenge dominant truths.  To be sure, there is nothing inherently wrong with the fact-based, educational TV documentary.  They serve an important function, but rarely do they contend with the problems of truth that so-often lie at the heart of their studies.  Human truth (like it or not) is subjective and that is a problem with which educational documentaries must contend – how far does one acknowledge the contested nature of the human stories they tell? Oh-so-many factual documentaries barely hint at the ferocity of the arguments and debates raging behind the academic scenes.  What is presented as simple fact, known and quantified, is often anything but.  Indeed, it is usually just one perspective of many, perhaps even a controversial one.  Discovering this can be frustrating for audiences who dislike being misled.  Impassioned arguments and selective use of the evidence can be highly manipulate. […]

  4. […] Documentary films can be many different things.  On one end of the spectrum are dry, PBS-sytle educational films and biographies.  Straight forward narratives which seek to define truth for the viewer, not challenge it. They inform but they rarely provoke.  On the other end of the spectrum, documentary films can provide deep personal explorations, considered portraits, and they can challenge dominant truths.  To be sure, there is nothing inherently wrong with the fact-based, educational TV documentary.  They serve an important function, but rarely do they contend with the problems of truth that so-often lie at the heart of their studies.  Human truth (like it or not) is subjective and that is a problem with which educational documentaries must contend – how far does one acknowledge the contested nature of the human stories they tell? Oh-so-many factual documentaries barely hint at the ferocity of the arguments and debates raging behind the academic scenes.  What is presented as simple fact, known and quantified, is often anything but.  Indeed, it is usually just one perspective of many, perhaps even a controversial one.  Discovering this can be frustrating for audiences who dislike being misled.  Impassioned arguments and selective use of the evidence can be highly manipulate. […]

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