3 Angry Men: Politics in Film History Examining Chaplin, Gavras, & Lumet

by Ashlee Lanier

Since the beginning of the film industry, directors have realized the potential power accessible to them through the medium of film.  For the purposes of this post, I will just be focusing on the works of three of the most politically subversive directors in film history: Charlie Chaplin, Costa-Gavras, and Sidney Lumet.

As his career bloomed, Chaplin’s films became increasingly political - ultimately leading to a denial for his re-entry into the United States in 1952 (he would not return until 1972 to accept his honorary Oscar).   Chaplin’s 1917 film The Immigrant is perhaps the earliest and most innocent example of his political opinion appearing in his work.  Chaplin’s framing of the Statue of Liberty and a group of relieved on-looking immigrants aboard a ship (his Tramp character included) depict the hope newcomers held when finally making it to America’s shores.  However, this happy moment is brought to an abrupt end as an immigration officer corrals the group and, in an act of slapstick protest, Chaplin’s character kicks the officer.

(Still from The Immigrant: relieved immigrants looking towards the Statue of LIberty)

This light-hearted attempt at mocking authority prevailed through much of Chaplin’s early work, but by the 1930s he took a much more serious tone when addressing the many problems he found within America. His 1936 film Modern Times attacked America’s capitalistic economy and increasingly industrialized workforce. By 1940 he was attacking the dictatorial governments of Germany and Italy (and America’s isolationist politics) with The Great Dictator.  Eventually his communist party ideals became too much for a deeply conservative America (and an increasingly paranoid J. Edgar Hoover), and he was denied re-entry into America after the release of his 1952 film Limelight. Chaplin remained successful in Europe and in 1957 released one of most politically influenced films to date, A King In New York.  Throughout the film, Chaplin’s character criticizes American capitalism, commercialism, and Hollywood culture while also getting some comical revenge when his character drenches the House of Un-American Activities with a fire hose.

Like Chaplin, Costa-Gavras’ films critiqued the political corruption found within entire governments.  His 1969 film Z focused on a fictionalized version of the actual assassination of a leftist Greek politician in 1963, while at the same time, critiquing Greece’s then current military dictatorship.  Gavras’ 1970 film The Confession and 1972 State of Siege both condemn totalitarian governments as well as depict the repression of those in opposition to the powers at be in Czechoslovakia and Uruguay respectively.  

(Still from Z)

In similar fashion, Sidney Lumet challenged corrupt systems in the U.S. with a slew of films including 12 Angry Men, Dog Day Afternoon, Serpico, and Network to name a few.  While Gavras and Chaplin challenged whole governments, Lumet usually explored themes of injustice and corruption on the local and city level often set in New York City.  Serpico examined the corruption within both the New York City Police Department and the city government while his anti-establishment film Dog Day Afternoon focuses on queer politics and the counter-culture movement of the 1970s.  

(Still from Serpico)

As these three directors have proven, film can be an excellent way to expose corruption and injustice. When used to its full potential it can even enact social change.  Chaplin, Gavras, and Lumet all took their unique subject matter and displayed it in a way that made the audience want to care about the political and social issues of the day. In doing so, they gave film a more meaningful context in which to be further appreciated.  

~Super brief author bio~

Ashlee is a Historic Preservation grad student who did her undergrad at NC State in osteoarchaeology & history, but besides studying old bones, she likes to watch art-house film & listen to ’60s British mod music. Her favorite films are City Lights, Dog Day Afternoon, Godfather Part II, & The Royal Tenenbaums; she also watches too much TV & enjoys complaining about everything.