Bandshell Boogie
Monday Night Dance Parties at the Bandshell in Boulder 7-9pm
June 6-August 15 FREE • Open to all ages! June 27: DJ Syn-Apse / Disco Funk July 11: Tracy G / Body Bliss July 18: Dj UunN / Psytembresteglance! July 25: Mr. Gettdown \ Dance! Presented by Free Motion - The Movement Center more info at: facebook.com/events/1738079686472723
concerts classes community
THURSDAY JULY 14 10:00 AM
STARS AND LASERS 2:00 PM
THE COSMIC ORIGINS SPECTROGRAPH 7:00 PM
COLORADO SKIES 8:30 PM
LASER: DEADMAU5 FRIDAY JULY 15
JOANNA & IAIN HYDE Sat 07.23 $18 advance ROBBIE FULKS Sat 08.06 $18 advance
7:30 PM
SOLAR SUPERSTORMS 9:00 PM
106.7 KBPI’S: NIGHT OUT WITH SWEETCHEEKS FEATURING ROB ZOMBIE VS. KORN 11:00 PM
LASER: GORILLAZ SATURDAY JULY 16 1:00 PM
MOONS AND LASERS
THE QUEBE SISTERS
BACK TO THE MOON FOR GOOD
Fri 08.19 $20 advance
BLACK HOLES: THE OTHER SIDE OF INFINITY
MARY FLOWER
LIQUID SKY MUSIC: DEFTONES
Sat 08.27 $19 advance
SUNDAY JULY 17
PAT DONOHUE Fri 09.09 $20 advance
2:30 PM 9:00 PM
10:30 PM
1:00 PM
DOUBLE FEATURE: TWO SMALL PIECES OF GLASS AND PERSEUS AND ANDROMEDA
w/La Pompe Jazz
w/Lucy Moore
2:30 PM
STARS AND LASERS 4:00 PM
SUPERVOLCANOS
Fiske Planetarium - Regent Drive
(Next to Coors Event Center, main campus CU Boulder)
www. fiske.colorado.edu 303-492-5002 38 July 14, 2016
Most concerts are at Swallow Hill Music, 71 E. Yale Ave. Denver, CO 80210, and most start at 8pm. Special event venues and times vary. Check ticket or online for time and venue confirmation!
film ‘A picture with a smile — and perhaps, a tear’
Chaplin’s ‘The Kid’ to play Chautauqua Silent Series by Michael J. Casey
L
ON THE BILL: The Kid and ike it or not, artists change. Though the preceding short, “A Dog’s we wish to preserve them in amber, Life,” accompanied by Hank Troy on the piano. 7:30 p.m. those we hold near and dear grow Wednesday, July 20, into individuals that we may not Chautauqua Auditorium, 900 necessarily want, but certainly may Baseline Road, Boulder, 303442-3282, chautauqua.com/ need. That was the case with Charlie events/film/. Tickets start at $6. Chaplin, who in 1918 — merely four years after his inauspicious debut — was one of cinema’s biggest comedic stars. With his shabby appearance, baggy trousers, oversized shoes and dusty bowler hat, Chaplin’s Tramp character was the very image of refinery and hilarity. His short comedies were a sensation, and they quickly made him one of the most recognizable individuals in the world. However, Chaplin wanted more. He already had complete control over his movies — which he wrote, produced, directed, starred, edited and, eventually, composed — and his own, personal studio in Hollywood offered him the ability to work endlessly on his projects. But it still wasn’t enough. Chaplin wanted to say something deeper, and he knew comedy alone wouldn’t cut it. He needed drama. Those around him warned against mixing sentiment and slapstick, but Chaplin knew better. And when he set eyes on young Jackie Coogan, a 5-year-old vaudevillian, Chaplin knew he struck gold. Here was the co-star he needed for his first feature-length film: The Kid. The Kid opens on an unwed mother (Edna Purviance, a long-time Chaplin co-star) leaving a charity hospital with her baby. She has no means Along with costar Jackie to raise the child and through a series of ridicuCoogan, Charlie Chaplin mixes comedy and drama in The Kid. lous, but hilarious, contrivances, the small bundle ends up in the Tramp’s lap. Thankfully, the Tramp’s heart is big, and he takes the child in. Jump five years later, and the Kid (Coogan) lives arm in arm with the Tramp. Their home is impoverished, but it is filled with love. Chaplin claimed that, “Life is a tragedy when seen in close-up, but a comedy in long-shot.” And The Kid is quite possibly the best example of this aphorism. Many of the comedic scenes take place in wide shot with the Tramp or the Kid perfectly framed in the center while other characters circle around them, best illustrated in the back alley brawl between the Tramp and a bully (Charles Reisner). Later, a welfare officer (Frank Campeau), feeling that the Kid would be better off in an orphanage, tears him from the Tramp’s home. Here, Chaplin moves in close and provides one of the most gripping and heart rending moments in all of silent cinema. By cutting from the Kid pleading to be returned to the Tramp, and the Tramp physically restrained in his home, Chaplin tugs at the audience’s heartstrings until they almost snap. The Tramp even stares directly into the camera, further pleading with the audience to stop this injustice. If there was any doubt in the audience’s mind that Chaplin would forever be confined to comedy, it evaporated immediately with those two shots. Ninety-five years later, their power hasn’t dwindled one iota. Woe to those who thought Chaplin was just another silent clown. Artists grow. How lucky we are for that. Boulder Weekly