section_path: Filmmaking/Style and themes
section_name: Style and themes
paragraph_text: Style and themes
  
  While Chaplin's comedic style is broadly defined as slapstick, it is considered restrained and intelligent, with the film historian Philip Kemp describing his work as a mix of "deft, balletic physical comedy and thoughtful, situation-based gags". Chaplin diverged from conventional slapstick by slowing the pace and exhausting each scene of its comic potential, with more focus on developing the viewer's relationship to the characters. Unlike conventional slapstick comedies, Robinson states that the comic moments in Chaplin's films centre on the Tramp's attitude to the things happening to him: the humour does not come from the Tramp bumping into a tree, but from his lifting his hat to the tree in apology. Dan Kamin writes that Chaplin's "quirky mannerisms" and "serious demeanour in the midst of slapstick action" are other key aspects of his comedy, while the surreal transformation of objects and the employment of in-camera trickery are also common features. His signature style consisted of gestural idiosyncrasies like askew derby hat, drooping shoulders, deflated chest and dangling arms and tilted back pelvis to enrich the comic persona of his 'tramp' character. His shabby but neat clothing and incessant grooming behaviour along with his geometrical walk and movement gave his onscreen characters a puppet-like quality.
  
  Chaplin's silent films typically follow the Tramp's efforts to survive in a hostile world. The character lives in poverty and is frequently treated badly, but remains kind and upbeat; defying his social position, he strives to be seen as a gentleman. As Chaplin said in 1925, "The whole point of the Little Fellow is that no matter how down on his ass he is, no matter how well the jackals succeed in tearing him apart, he's still a man of dignity." The Tramp defies authority figures and "gives as good as he gets", leading Robinson and Louvish to see him as a representative for the underprivileged – an " everyman turned heroic saviour". Hansmeyer notes that several of Chaplin's films end with "the homeless and lonely Tramp optimistically... into the sunset... to continue his journey."
  
  It is paradoxical that tragedy stimulates the spirit of ridicule... ridicule, I suppose, is an attitude of defiance; we must laugh in the face of our helplessness against the forces of nature – or go insane.
  
  The infusion of pathos is a well-known aspect of Chaplin's work, and Larcher notes his reputation for " laughter and tears". Sentimentality in his films comes from a variety of sources, with Louvish pinpointing "personal failure, society's strictures, economic disaster, and the elements". Chaplin sometimes drew on tragic events when creating his films, as in the case of The Gold Rush (1925), which was inspired by the fate of the Donner Party. Constance B. Kuriyama has identified serious underlying themes in the early comedies, such as greed (The Gold Rush) and loss (The Kid). Chaplin also touched on controversial issues: immigration (The Immigrant, 1917); illegitimacy (The Kid, 1921); and drug use (Easy Street, 1917). He often explored these topics ironically, making comedy out of suffering.
  
  Social commentary was a feature of Chaplin's films from early in his career, as he portrayed the underdog in a sympathetic light and highlighted the difficulties of the poor. Later, as he developed a keen interest in economics and felt obliged to publicise his views, Chaplin began incorporating overtly political messages into his films. Modern Times (1936) depicted factory workers in dismal conditions, The Great Dictator (1940) parodied Adolf Hitler and Benito Mussolini and ended in a speech against nationalism, Monsieur Verdoux (1947) criticised war and capitalism, and A King in New York (1957) attacked McCarthyism.
  
  Several of Chaplin's films incorporate autobiographical elements, and the psychologist Sigmund Freud believed that Chaplin "always plays only himself as he was in his dismal youth". The Kid is thought to reflect Chaplin's childhood trauma of being sent into an orphanage, the main characters in Limelight (1952) contain elements from the lives of his parents, and A King in New York references Chaplin's experiences of being shunned by the United States. Many of his sets, especially in street scenes, bear a strong similarity to Kennington, where he grew up. Stephen M. Weissman has argued that Chaplin's problematic relationship with his mentally ill mother was often reflected in his female characters and the Tramp's desire to save them.
  
  Regarding the structure of Chaplin's films, the scholar Gerald Mast sees them as consisting of sketches tied together by the same theme and setting, rather than having a tightly unified storyline. Visually, his films are simple and economic, with scenes portrayed as if set on a stage. His approach to filming was described by the art director Eugène Lourié: "Chaplin did not think in 'artistic' images when he was shooting. He believed that action is the main thing. The camera is there to photograph the actors". In his autobiography, Chaplin wrote, "Simplicity is best... pompous effects slow up action, are boring and unpleasant... The camera should not intrude." This approach has prompted criticism, since the 1940s, for being "old fashioned", while the film scholar Donald McCaffrey sees it as an indication that Chaplin never completely understood film as a medium. Kamin, however, comments that Chaplin's comedic talent would not be enough to remain funny on screen if he did not have an "ability to conceive and direct scenes specifically for the film medium".