Cutting the film back to William Boyd's script, i.e. removing all the irrelevant Anthony Hopkins William Goldman stuff, makes a leaner and more effective film, and ends where Boyd's script does - the news on board ship they wouldn't be allowed back in (though he did add that 'My script would be quietly tinkered with by Diana Hawkins/Dickie – Cockneyisms added – “Wotcher, Charlie!” – and other clichés').
He also had this to say of the finished edit:
What an amazing trip down memory lane that was. Thank you SO much for all your hard work and the dedication and the last credit – a very special, not to say unique, memento. I was actually at quite a few of the scenes as they were shot, particularly the London ones, and the recollections came flooding back. This edit is as close as we’ll get to the initial conception of the film, present in my first draft. I worked closely with the Universal exec, Barry Isaacson, a smart guy, and we decided to deliberately challenge Dickie’s hagiographical tendencies. You can still see the traces of our rigour in the film – we didn’t shirk Chaplin’s paedophilia nor his bizarre double standards (very left-wing and very fascistic). I’d forgotten there was so much nudity! The scene with Milla Jovovitch is very disturbingly Lolita-esque. I’m amazed Dickie shot it, in fact. I think – what do I know? – that this version, or something close to it -- without the ghastly , turgid creakiness of Goldman’s input – might have fared better. It’s a far more interesting biopic than the one that was released – but such is life, such is the movie business – everything seems to end up being a compromise, of some kind. The skill is to keep it to a minimum which we just about managed to achieve.
I remember Downey whispering to me once on set – “Does Dickie ever move the camera?” It is very staid Sunday afternoon film-making – though very lavish, of course. But it remains an “interesting” film – which sounds like faint praise but isn’t meant to be. I don’t think anyone is familiar with these details of Chaplin’s life (unless they’re Chaplin buffs) – and that’s why it’s still watched and still gets appreciative comments, even though the film was a flop. What a cast, also! Again, the power of Dickie luring them in. I thought the various women in Chaplin’s life were very well portrayed.
John Barry's score is lovely - it was Oscar nominated as was Downey, who also won the BAFTA.
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| I forgot Diane Lane was in it, again |
Loved Sidney's line to Fred Karno (John Thaw, excellent) " 'E's been legit up till now [i.e. not been in showbusiness], but he sings and dances."
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