|
|
| Festival Year |
Festival Section |
| 2011 |
21st Century Silents |
| Film Title |
THE BLIND DATE |
| Alternative Title 1 |
|
| Alternative Title 2 |
|
| Alternative Title 3 |
|
| Country |
USA |
| Release Date |
2010 |
| Production Co. |
Patrick McCarthy |
| Director |
Patrick McCarthy |
| Format |
|
Speed (fps) |
| DVD |
|
24 |
| |
|
|
| Footage |
|
Time |
|
|
7' |
| Archive Source |
Patrick McCarthy, Los Angeles |
| |
|
| Print Notes |
Didascalie in inglese / English intertitles |
| Cast |
| Patrick McCarthy (vagabondo/a tramp), Duke Fairchild (pescatore/fisherman), James Gavin (vagabondo, ladro/hobo, thief), Scott Largen (persona al telefono/guy on phone), Vince Keung (innamorato/online lover), Nico Salinas (bambino che gioca/boy at play), Jamie Smith (poliziotto/police officer), Lorelle Stephanski (fanciulla/damsel) |
| |
| Other Credits |
| prod., scen., f./ph., mont./ed: Patrick McCarthy |
| |
| Program Notes |
It is the supreme audacity to try to imitate Charles Chaplin – particularly if you are 6 feet 2, wear size 12 shoes, and do not share a single physical feature with the Little Tramp. Patrick McCarthy takes the chance, and gets away with it, thanks to the Chaplinesque innocence he brings to his hero, and the intriguing idea of transporting the unwitting Little Tramp through time to the world of cell-phones and online dating. McCarthy’s ultimate test came when the film was premiered for last year’s scholarly and critical International Chaplin Conference in Zanesville, Ohio. Disarmed, they cheered without reserve. – DAVID ROBINSON
Patrick McCarthy writes: “As someone trying to be a filmmaker, I learned about the great minds that laid the groundwork for cinema as we know it today. When I discovered Chaplin, he embodied everything I try to be as a person and as a filmmaker. I had such a grand appreciation for what he did and how he did it, that I felt it would be impossible to move on and make my own mark on cinema without first paying tribute to him. So, this short film transposes his most famous tramp character into society as I know and see it today. The tramp character still exists in a silent world because it gives him the most universal voice. And I could imagine no greater pleasure than developing a silent film around one of the most transcendent characters of all time.”
|
|
|
