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A Countess from Hong Kong 1967
As personal a film as Chaplin ever made. It continues the trend of his late period work as a post script analysis to Chaplin's early work. Monsieur Verdoux wholly deconstructed Chaplin's presence as a star and relabeled him a Bluebeard and fiendish capitalist. Limelight reverses this by portraying his comedy as a confluence between intoxication and deep depression, asking what the audience takes from the comedian rather than the comedian taking from the audience. A King in New York labels…
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Parade 1974
As clearly evidenced by the reaction among fans of Tati's work, this is surely Tati's most subversive film. Aesthetically this is unlike any of Tati's previous work. The simple pseudo-observationoal style and density of visual gags are tossed aside, likely due to the lack of a budget with which to make such a film. When forced into this corner, Tati responds with the ingenuity that one should expect from a comic genius.
Tati proceeds to subvert and dismantle his own…
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