That Charles Chaplin, who got this strange job first and held it longest, never went much beyond planning to cast himself in a movie about the life of Napoleon is, in a way, a tribute to his underlying sense of reality. Reading Joyce Milton’s new biography of Chaplin, though, which bears the title of “Tramp” , you wouldn’t know that there was much of anything peculiar or out of the ordinary about Chaplin’s career.
In a seemingly straightforward set piece, like the rescue from the orphanage van, in “The Kid,” what is startling is how much life Chaplin gets out of the Victorian clichés by adding a stumble here and a flat-footed skid there, and by making them part of a beautifully orchestrated pattern of assertion and withdrawal, a pattern possible only, perhaps, in a medium as fluid as the movies.
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