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Monsieur Verdoux

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2 star:		(1)
1 star:		(2)

 

 

If the willingness to take risks is the mark of a great artist -- and I believe it is -- then Monsieur Verdoux is one of Charles Chaplin's greatest films. And amidst all the controversy stirred by his portrayal of a serial wife killer, it's easy to forget that it's also a hilarious black comedy with plenty of sharp lines that would have succeeded even without its sociological message.

Chaplin's ability as an actor is pushed to a new level on this film through his portrayal of a morally ambiguous, unscrupulous ex-bank clerk who has no qualms about putting a body into an incinerator in his backyard. While much has been said about this film's break with Chaplin's Little Tramp character, careful examination reveals that Henri Verdoux is just a logical, and daring, advancement in the character: The more devilish, sometimes sadistic sides of the Little Tramp taken to their inevitable conclusion, where comic mischief crosses over the line to villainy. And it's highly compelling, the perfect foil to Chaplin's most heartwarming films (eg. City Lights and Modern Times), allowing Chaplin to express an insidiousness hitherto unexplored. Martha Raye nearly steals the show as the airheaded, supernaturally unkillable Mme. Bonheur (the name itself means "happiness"), and Marilyn Nash is winning as the Belgian derelict who inspires a spark of compassion in Verdoux. The conclusion of this character relationship is one of Chaplin's most complex writing feats: Imagine the ending of City Lights twisted into a dark, steely, uncompromising version of itself.

There are certain moments when the film does threaten to fall into self-involvement -- in his later years, Chaplin did let his ego take ahold of his work -- but in the case of Monsieur Verdoux, he uses this larger-than-life persona so well, and it fits the character so snugly, that the ego becomes an advantage and adds to the depth of the character. And the script has none of the self-conscious mix of silent film and talkies that plagued The Great Dictator; Chaplin had grown quite well into dialogue writing, allowing him to formulate moments of murderous irony that are cuttingly funny. ("Don't pull the cat's tail...") I have no problems with the ending speeches in this film as I did with the final speech of The Great Dictator: In the context of this story, they fit in quite well. Verdoux at the end is a man who has given up all hope, and he seems to mock his own fate and character while unmercifully unveiling his anger at the world. The speeches are not meant to be taken for face value, and I find them thought-provoking and fascinating rather than moralistic or self-important.

I first saw this film at Symphony Space in New York City and the audience was laughing so hard it was in tears. With modern audiences generally less inclined to judge a film by its "moral standing" (Kill Bill, anyone?), Monsieur Verdoux can be seen for what it is: A hilarious, complex sociological examination which identifies social ills while at the same time taking part in it. In that, it is unique in the Chaplin canon and deserves to rank among his most important films.

A quick note about this DVD edition: For some reason, the bonus materials for this film are far less numerous than on the other DVDs in this series -- hence the single-disc package and lower price. By the standards of this series of reissues, the DVD materials are really quite scant -- a useful yet brief half-hour documentary featuring good insight from director Claude Chabrol, a trailer, some storyboards. The picture and sound are of good quality, however, and the film is one to own. Highly recommended.

In his autobiography, Charlie Chaplin called "Monsieur Verdoux" (1947) "the cleverest and most brilliant film I have yet made." Though not without its faults, this sardonic black comedy remains his best foray into sound. Chaplin's detailed performance as the business-minded Bluebeard is a masterpiece of screen acting. However, the supporting cast ranges from excellent (Martha Raye) to amateurish (Marilyn Nash) while the final minutes get bogged down in endless talk. Chaplin later admitted that "Monsieur Verdoux" could have used a bit more pantomime and less dialogue. Still, it's a thought-provoking and hard-hitting film. Henri Verdoux and the Little Tramp have much in common.

Monsieur Verdoux is Chaplin's unsung masterpiece. A very dry film, it lives in the shadow of the much broader 'The Great Dictator'. The humor is subtle (the Martha Raye scenes aside) and one has to think to get it. Example: Verdoux is tending to his rose bushes while the incinerator is finishing up one of his wives in the background. He's just murdered a woman yet he refuses to step on a little catepillar. In picking it up and moving it to safety, he becomes very squemish at touching the little creature! This character is as far away from the Little Tramp as one can get. They are the same though; both long for love however, Verdoux uses love to his 'business' advantage whereas 'Charlie' was ususally scorned by it. This is his best written talky (any viewer of the over preachy 'Limelight' would concur) while it looks technically cheap at times (a not too uncommon area of some of his later productions). Such criticism is small though and the 'speech' at the end fits well into the narrative, not to mention that with the passing of over five decades....it still makes sense. Chaplin should be commended for putting out such a daring film at a time where America didn't want to hear such things. Not for everyones tastes but still a film that should not be ignored.

That was the campain in the 40's, when the public didn't want to accept this film. After a few weeks of running, it was abandoned in all cinema's. The people expected a Little Tramp, instead, they got a Bigamist Lady Killer. En mass they decided to boo the film and stay away.
However, this is not what Monsieur Verdoux deserves. In every scene you see Chaplin's quick brain, keen eye and swift feet at work. Some of the love scenes are absolutely hilarious, even in this day. Martha Raye (the wife who refuses to me murdered) is a scream. The film is intended as a parody on Society prior to WWII; if you watch it with this in mind you'll be able to enjoy it tremendously.

Before Chaplin decided to make this film, he had just gone through one of the most turbulant periods in his life. His divorse with Paulette, being harrased by a neurotic former love, meeting Oona and soon to be banned from the States, accused of being a Communist had taken it toll. Chaplin fought back in the only way he knew how: by making a comedy to tackle the present cruel (at least to him) society.

This DVD quality is as good as you can get; there a no evidence of film aging. However, the text on the back of the cover is a great disappointment. I happened to read it before I watched the film (as most people do to see if the film is what they were looking for), and not only was this the dullest description of a film I ever saw, but worse, it actually managed to give away the entire film including the FINAL scene! If you decide to give this film a chance (which won't be a disappointment, garantueed), avoid reading the back of the cover at all costs.

This is a five-star film, but one star off for the cover. Shame on Image Entertainment!

Monsier Verdoux is an offbeat black comedy which keeps the most refined sentiments and the darkest brutality in constant contrast. Chaplin depicts a dapper and clever fellow who has lost his job in the depression. He resorts to murdering women he has charmed and taking their fortunes to support his family. Always the gentleman with exquisite manners and apt philosophical quips, he nevertheless dispatches his victims with equal aplomb. His philosophical remarks appear at odd moments. While he is pumping a chemist friend about the formula for a poison, he remarks that "chemistry is the outward manisfestation of the metaphysical". He then proceedes to bring a girl off the street into his quarters as his intended victim. After setting a poisoned glass of wine on the table for her, she declares that life is beautiful despite all the wrong in the world, this promted by her belief that Verdoux is sincerely helping her. Verdoux is moved by the girl and leans over saying " I believe there is some cork in your wineglass, let me get another for you", therby saving her.

The movie has a charm, wit and intelligence to it. Critics who do not see this are too literal minded and seemingly cannot reconcile the contrast between the refinement and brutality of Verdoux. Of course they cannot be reconciled! They seem to expect a moral balance sheet to be closed out like an accountant. Verdoux is a thought provoking contradiction-perhaps a microcosm of civilization itself-full of art and noble impulses, but also of violence and injustice too.

It's hard to believe this film once had such an awful reputation and was considered extremely politically dangerous. Times have really changed for the better since 1947. This is Chaplin's first full dialogue film, even though 'The Great Dictator' was his first sound film. As is pointed out in the documentary, that film seems to go back and forth between dialogue scenes and silent scenes. This film was the first film he wrote expressly as a dialogue film, with much less of the pantomimic scenes hearkening back to his earlier work. It's also just as funny and brilliant as his earlier masterpieces.

We know right from the opening shot of the film what the fate of Henri Verdoux was, since we see a grave bearing his name and the years he lived. The film that follows tells us the story of just how and why he got there. Monsieur Verdoux is a bluebeard (an old-fashioned slang word for a man who marries and then murders one woman after another), something he never foresaw himself as. For much of his adult life he worked as a successful bank clerk, but then came the world Depression, and he lost his job. Society didn't seem to have any other use for him, at least not anything that would enable him to make as much money as he needed to support his young son Peter and his disabled wife Mona. I suppose this story was considered controversial in its day because Monsieur Verdoux is portrayed as sympathetic, charming, and intelligent, with understandable reasons for what he's doing. He's not shown as a cold-blooded killer who murders these women for their money for the fun of it or because he's a sadistic monster. He does what he feels he has to do because there is no other way. And as we see, he isn't incapable of having a change of heart, such as when the young woman he was going to use as his test subject for the new poison he mixed reveals that she is in much the same situation as he is. He decides to spare her and help her. There are also the hilarious scenes in which he's trying and failing to murder Annabella, which are among the film's highlights and illustrative of why the subtitle is 'A Comedy of Murders.' The ending scene of the film (which was the first scene Chaplin shot, wanting to get the hardest part out of the way first), an attack on a system that rewards mass murderers and capitalist robber-barons but condemns people who are driven to murder because that very system cheats them, instead of celebrating them as they do people who go to war, almost made me change my mind about supporting the death penalty. Since I share many of Chaplin's political views, I didn't find this film to be overly preachy or like the comedy were ruined by working in a moral and political message as well. I felt it was seamlessly worked in instead of totally dominating the story, and besides, the reason so many people in 1947 hated this film was because it challenged what they believed and held as absolute truth, and that offended them. Instead of listening to a different viewpoint with an open mind, they chose to boycott and trash this film instead.

Warner must have fell asleep at the wheel with its DVD reissue of Charlie Chaplin's "Monsieur Verdoux." The "remastered" print is dark, murky and virtually unwatchable. In fact, it's a strain on the eyes! The additional star is given only for the extras -- especially the excellent "Chaplin Today" documentary. This DVD should be taken off the market until Warner gets its act together.

Many people seem to have a hard time stomaching this movie, I think in large part because, despite all possible warning to the contrary, people go see this movie with the idea that it will be like Chaplin's earlier movies, with him playing a character that either symbolizes human virtue or directly espouses Chaplin's views. These people are sorely dissapointed, because Chaplin's character, Monsieur Verdoux, is neither virtuous, nor does he express Chaplin's personal ideology. In fact, sometimes people come out of this still holding the point of view that this is just a regular Chaplin movie and are disgusted with Chaplin's apparently murderous tendencies!
The basic plot has been oulined here many, many times, and I don't think anything can be gained from going over it again; I will simply provide my views on what the characters mean so that those who watch this movie for the first time can at least go into it without drastic misconceptions. Verdoux is a French bank clerk layed off as a result of the depression, he sees no alternative but to marry women, obtain their assets, and murder them, in order to support his family. He loves his family (son and invalid wife) dearly, but despite this is cynical about the world, viewing it as a hostile place where one has to be hostile in return to survive in it. NOTE: Chaplin is NOT Verdoux (although they have some similarities: more on this later), at least, Verdoux is not Chaplin's vision of an ideal human being. In fact, Chaplin's ideal, which in earlier films took the form of the Tramp, is most nearly expressed by a female ex-con that Verdoux runs into. I forget exactly what she says, but one essential point is that a little kindness can make the world a wonderful place. Her optimistic world view is at direct odds with Verdoux's cynicism, and in fact Verdoux tells her that her optimism is corrupting his philosophy. There is much else that I could say about the themes of Monsieur Verdoux, but it is better if you simply see the movie, which I highly recommend.
Looking at the film in a fair and balanced way, however, it does have flaws. The only one of real importance to me is that Chaplin makes the character of Verdoux too sympathetic, especially at the end, with his statement to the court, which comes off, at least partly, as an excuse for his atrocities, rather than as purely an indictment of the hypocritical, inhuman world he lives in. My view of Verdoux is that he is a product of the mechanized, impersonal, ungrateful world so briliantly satirized in Modern Times, as inevitable as the Sun rising in the East, and not that he is a wise person (not that his statements at the end are what I would call wise, but they contain elements of wisdom that invite one to place trust in what Verdoux says). Perhaps at least part of this half-sympathetic portrayal is that Verdoux's disillusionment, his lashing out at a world that has turned his back on him, were traits that Chaplin at this stage in his career deeply identified with, and perhaps he couldn't help but put a little of himself into Verdoux. At any rate, these minor quibbles are no reason, I think, to deny the film the status of a classic masterpiece.

When Chaplin set about to tell the tale of MONSIEUR VERDOUX, he wanted an actress for the role of the indestructible Annabella who could hold her own in the comedy department. He looked no further than stage/radio/movie star Martha Raye, who was known for her improvisational skills and was fearless when it came to comedy. Raye considered this the high point of her career, to have been chosen by the man she considered The Master as a co-star. Without exception, critics hail the rowboat scene when Verdoux is trying vainly to murder the obnoxious Annabella as the highlight of the film. Given the right director, Raye was matchless in comedy and also proved to be a capable dramatic actress in a precious few roles (Jumbo, The Gossip Columnist). Watch this film, if only to appreciate the comedy genius of Martha Raye. Oh, Chaplin ain't bad either.

We hadn't seen Charlie Chaplin in the shoes of the Little Tramp since 1940's The Great Dictator, nor would we again. With the advent of talkies in the late twenties, he went through some difficult changes as modes of production and expectations among audiences grew more and more sophisticated; he said that movies needed sound as much as Beethoven's symphonies needed words, and not surprisingly, his output diminished. But when he did decide to make a movie every other three or four years, such as City Lights (1931), Modern Times (1936), or his masterpiece, The Great Dictator, they garnered for him terrific financial and critical rewards. Monsieur Verdoux was a flop. By the time it had come out in 1947, Chaplin had been accused in a paternity suit, suspected of being a Communist sympathizer, and in about six years he would leave the country almost for good. It is against this background of increasing paranoia and the beginnings of the Cold War that he shot his darkest comedy.

It begins with a shot of a tombstone inscribed "Monsieur Verdoux 1880-1937," and Verdoux (Chaplin) tells us through voice-over how he, a French bank clerk, lost his job during the Great Depression and how this forced him to turn to more nefarious methods of supporting his family. Under a variety of aliases, he romances lonely women of means, persuades them to convey their assets to him, and then murders them. There's Thelma, who's already been dispatched by means unknown and whose house Verdoux is putting up for sale; the pompous Madame Grosnay (Isobel Elsom), who initially resists Verdoux's over-enthusiasm, then eventually succumbs to his insistence; the near-harpy Lydia (Margaret Hoffman); and the crass, hate-her-so-much-you-love-her Annabella (Martha Raye). Savor the slap-stick in the rowboat scene where Verdoux repeatedly tries slipping the rope attached to an anchor around Anabella's neck, even tripping and covering his own face with a chlorophorm-soaked kerchief that was meant for her.

Observe how brilliant Chaplin is at winning us over, right from the first time we see him mundanely pruning his rose garden. He is charming, smart, and his sole reason for becoming a Bluebeard is out of necessity, to support his wheelchair-bound wife and young son. The women he chooses for his prey are all quite abominable, save for one - the Girl, who is never named in the picture. She's just out of prison and without means when Verdoux takes her in and feeds her, and is about to poison her (to end her suffering) when he learns about her diseased invalid husband. Her experiences mirror his own and he can't bring himself to do it.

Overall, it is a grim film. Though it provokes laughter throughout a darkness pervades. Robert Edwards wrote that "...it's almost as if Chaplin were aware of the negative reception that the film would have, because he carefully links the killings of one man with the mass murder that is war, a recent memory when the film was released in 1947." Indeed, what a troubling line it must have been for audiences to swallow when Chaplin says in the end "One murder makes a villain; millions a hero. Numbers sanctify." Watch this forgotten, extraordinarily relevant Chaplin classic as soon as you can.