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Geraldine Chaplin Geraldine Chaplin 66422_Rybin.indd422_Rybin.indd i 008/07/208/07/20 111:001:00 AAMM International Film Stars Series Editors: Homer B. Pett ey and R. Barton Palmer Th is series is devoted to the artistic and commercial infl uence of performers who shaped major genres and movements in international fi lm history. Books in the series will: • Reveal performative features that defi ned signature cinematic styles • Demonstrate how the global market relied upon performers’ generic contributions • Analyse specifi c fi lm productions as casetudies s that transformed cinema acting • Construct models for redefi ning international star studies that emphasise materialist approaches • Provide accounts of stars’ infl uences in the international cinema marketplace Titles available: Close-Up: Great Cinematic Performances Volume 1: America edited by Murray Pomerance and Kyle Stevens Close-Up: Great Cinematic Performances Volume 2: International edited by Murray Pomerance and Kyle Stevens Chinese Stardom in Participatory Cyberculture by Dorothy Wai Sim Lau Geraldine Chaplin: Th e Gift of Film Performance by Steven Rybin www.euppublishing.com/series/ifs 66422_Rybin.indd422_Rybin.indd iiii 008/07/208/07/20 111:001:00 AAMM Geraldine Chaplin The Gift of Film Performance Steven Rybin 66422_Rybin.indd422_Rybin.indd iiiiii 008/07/208/07/20 111:001:00 AAMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutt ing-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Steven Rybin, 2020 Edinburgh University Press Ltd Th e Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 12/1 4 Arno and Myriad by IDSUK (Dataconnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 2796 8 (hardback) ISBN 978 1 4744 2798 2 (webready PDF) ISBN 978 1 4744 2799 9 (epub) Th e right of Steven Rybin to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66422_Rybin.indd422_Rybin.indd iivv 008/07/208/07/20 111:001:00 AAMM Contents List of fi gures vi Acknowledgments x Introduction: into the limelight 1 1 Th e Kid: Geraldine Chaplin in the sixties 18 2 Th e Great Dictator: Geraldine Chaplin in the fi lms of Carlos Saura 59 3 Th e Circus: Geraldine Chaplin in the cinemas of Robert Altman and Alan Rudolph 115 4 A Woman of Paris: Geraldine Chaplin across French cinema 156 5 Modern Times: Geraldine Chaplin across contemporary cinema 202 References 241 Index 246 66422_Rybin.indd422_Rybin.indd v 008/07/208/07/20 111:001:00 AAMM Figures I.1 Geraldine Chaplin’s screen debut, in her father’s Limelight 3 I.2 Chaplin in the ballet Cinderella, 1963 7 I.3 Geraldine’s eyes look past Marlon Brando into the abstract and heavenly space her words imagine beyond the frame, in A Countess fr om Hong Kong 11 I.4–I.5 Charlie Chaplin directing Geraldine and others on the set of A Countess fr om Hong Kong 13 1.1 Geraldine Chaplin in a screen test for the part of Tonya in David Lean’s fi lm adaptation of Boris Pasternak’s novel Doctor Zhivago 18 1.2 Alongside Ralph Richardson, in Doctor Zhivago 19 1.3 Co-starring with Jean-Paul Belmondo in Crime on a Summer Morning 24 1.4 Charlie Chaplin and a play with off screen space in Th e Kid 28 1.5 Chaplin, with Paul Bertoya, in Stranger in the House (a.k.a. Cop-Out) 32 1.6 Geraldine Chaplin stars in the World War II drama Andremo in citt à 33 1.7 A one-sheet for Doctor Zhivago, emphasizing Chaplin’s presence in the fi lm 38 1.8 A character one-sheet for Doctor Zhivago, depicting Geraldine Chaplin 39 1.9 Chaplin as Tonya and Omar Sharif as Zhivago in Doctor Zhivago 42 1.10–1.21 Geraldine Chaplin photographed by Milton H. Greene 49 2.1 Chaplin as Elena, with a mischievous gesture in Peppermint Frappé 60 66422_Rybin.indd422_Rybin.indd vvii 008/07/208/07/20 111:001:00 AAMM Figures vii 2.2 Th e magnifi ed eye of Chaplin-as-Elena inPeppermint Frappé 61 2.3 Chaplin reads Antonio Machado in Peppermint Frappé 62 2.4 Charlie Chaplin, in a performative riposte to tyranny, in Th e Great Dictator 65 2.5 Geraldine Chaplin in 1968, in the residence she shared with Carlos Saura 67 2.6 Chaplin-as-Elena, a living embodiment of feminine modernity in Peppermint Frappé 69 2.7 Chaplin gazes upon a painting of Brigitt e Bardot by Antonio Saura in Peppermint Frappé 71 2.8 “Geraldine Chaplin en su sillon” (“Geraldine Chaplin in her armchair”), by Antonio Saura, 1967 72 2.9 Chaplin as Teresa, shedding an identity in Stress-es tres-tres 77 2.10 Chaplin as Ana, calling up a memory through gesture in Ana y los lobos 82 2.11 Chaplin in La madriguera, frozen momentarily in a tableau 87 2.12 Per Oscarsson, off screen, gesturing toward Chaplin in La madriguera 87 2.13 Chaplin posing as María in her days as a young musical ingénue in Cría cuervos 91 2.14 Chaplin and Ana Torrent, in a moment of intimacy in Cría cuervos 94 2.15 Chaplin, awakening from sleep in Elisa, vida mía 101 2.16 Chaplin, facing the camera in a medium close-up shot frontally framed by Saura, pulls off a thin exfoliating mask in Elisa, vida mía 103 2.17 Elisa applies eyeliner, transforming her face into another kind of mask in Elisa, vida mía 103 2.18 Chaplin as Emilia, recounting a dream in Los ojos vendados 109 2.19 Chaplin, in a dress with arm-length sleeves that fl ow like leaves in the breeze, arms outstretched as if in fl ight, in Mamá cumple 100 años 112 3.1 Chaplin, as wedding planner Rita Billingsley, in A Wedding 115 3.2 Chaplin as Opal, spying Elliott Gould off screen, in Nashville 120 3.3 Opal listens to the crooning of Keith Carradine in Nashville 122 3.4 Chaplin as Annie Oakley in Buff alo Bill and the Indians, or Sitt ing Bull’s History Lesson 124 3.5 Chaplin as Karen, in her fi rst appearance inWelcome to L.A. 127 3.6 Keith Carradine and Geraldine Chaplin talk about Garbo in Welcome to L.A. 129 66422_Rybin.indd422_Rybin.indd vviiii 008/07/208/07/20 111:001:00 AAMM viii Geraldine Chaplin: The Gift of Film Performance 3.7 Chaplin surveying the landscape in Remember My Name 134 3.8 Chaplin as Emily, with a saleswoman, in Remember My Name 136 3.9 Charlie Chaplin’s use of stillness in One A.M 137 3.10 Chaplin’s Emily privately rehearses her gestures and movements in Remember My Name 138 3.11 Chaplin comically ducking below a window frame in Remember My Name 140 3.12 Chaplin as Emily kicks off a new stage in her life in Remember My Name 143 3.13 A caricature of Geraldine Chaplin, published in the 1960s in the French magazine La vie Parisienne 146 3.14 Chaplin and Keith Carradine, fl irting inTh e Moderns 147 3.15 A close-up of Chaplin with a portrait by Modigliani looming behind her, in Th e Moderns 148 3.16 Chaplin as Nathalie de Ville, caressing the frames encasing two Matisse works she particularly loves, in Th e Moderns 149 3.17 Chaplin as Lily Bart, creating a tableau vivant in Th e House of Mirth 154 3.18 Chaplin’s Lily Bart, haunted by ghostly fi gures in Th e House of Mirth 154 4.1 Chaplin masquerading as Leon Mandrake in I Want to Go Home 157 4.2 Th e Jeunesse Cinema cover girl 162 4.3 A 1960s photo spread for French Vogue 163 4.4 As Mademoiselle Muller in Sur un arbre perché (Perched on a Tree) 164 4.5 Chaplin plays Isabelle in Mais où et donc Ornicar 168 4.6 Chaplin raises her hand and mimics pulling back an invisible curtain to an imaginary dressing room, in Le Voyage en douce 170 4.7 A striptease that stops short of full revelation in Le Voyage en douce 172 4.8 Charlie Chaplin, lingering off screen in the dispersive mise en scène of Monsieur Verdoux 176 4.9 Invoking Shane and other intertextual references in Noroît 179 4.10 Chaplin’s intense, invocative eyes, gazing beyond the edges of the frame in Noroît 180 4.11 Chaplin, as a foreshortened Morag in Noroît 186 4.12 Blindfolded in Noroît 188 66422_Rybin.indd422_Rybin.indd vviiiiii 008/07/208/07/20 111:001:00 AAMM Figures ix 4.13 Chaplin, confi dently poised as a performer inNoroît 189 4.14 A moment of companionship between Chaplin and Jane Birkin in L’Amour par terre 194 4.15 Chaplin encounters Cupid in L’Amour par terre 195 4.16 Chaplin as Nora Winkle in La vie est un roman 198 5.1 Charlie Chaplin in the fi nal frames ofCity Lights 203 5.2 Geraldine Chaplin as her grandmother Hannah in Chaplin 203 5.3 An extreme close-up of Chaplin’s eyes in Z.P.G.: Zero Population Growth 210 5.4 Chaplin, in close-up in Z.P.G.: Zero Population Growth 211 5.5 A striking close-up of Chaplin and her eyes, rhymed to an image of the two jewels stolen from Queen Anne’s necklace, from Th e Th ree Musketeers 214 5.6 Chaplin as Marilyn in Roseland, guarding her mouth with her hands 216 5.7 Chaplin’s Marilyn in Roseland, in mirror refl ection 218 5.8 Chaplin’s fi rst appearance inTalk to Her takes the form of a framed photograph 219 5.9 Chaplin’s Katerina describes her vision for a new ballet in Talk to Her: “Th e ethereal, the impalpable, the ghostly” 220 5.10 Michel Piccoli eventually sweeps Chaplin up in his arms in an att empt to carry her to a boat, in Boxes 225 5.11 In Boxes, Chaplin expresses her character’s desire to live in the present moment, rather than in the past 226 5.12 In Sand Dollars, Chaplin’s eyes register both aff ection and uncertainty 229 5.13
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