Middleton and Spinney’s approach here begins with Max Eastman’s observation, “Enjoy any Charlie Chaplin you have the good luck to encounter, but don’t try to link them up to anything you can grasp. There are too many of them.” The theory, then, is that through archival interviews, reenactments and film footage galore, it’s possible to expand on the notion of Chaplin’s myriad identities, even if attempting to isolate any “real” Charlie Chaplin would be an exercise in futility.
In telling the story, Middleton and Spinney make a lot of choices, none inherently wrong, but together adding to excess. Opting not to have any new talking heads, but then effectively creating talking heads by doing staged reenactments of vintage audio interviews with Chaplin and with one of his childhood friends is a choice.
Having as much film and behind-the-scenes footage as the filmmakers possess and then deciding at semi-arbitrary times to manipulate the imagery with jittery freeze-frames and digitally simulated melted celluloid is a choice.
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