在全世界都在纪念卓别林诞生一百周年的时候,我们中国人可以说些什么呢?极容易想到的是他同中国的关系。早在二、三十年代,作为好菜坞影片的一部分,以夏尔洛为主人公的系列喜剧影片就在上海等地风靡一时,达到了妇孺皆知的地步。一九四九年后,卓别林的影片又被当作揭露资本主义的形象材料在中国电影院十分狭隘的外片片目中占有一席之地。文革前编篡的《辞海》在极有限的外国电影家的条目中给予了卓氏最长的一条。不过,这些只是我们或从商业或从政治出发对卓别林的单方面态度。从卓氏方面讲,实在说不出对中国有什么特别的好恶,虽然在三十年代为了排遣因有声电影的发明所产生的徬徨感,他曾以巨富的派头携娇妻、搭华轮于周游世界途中来过 What can we Chinese say when the world celebrates the centenary of Chaplin’s birth? It is easy to think of his relationship with China. As early as the 1920s and 1930s, a series of comedy films featuring Shalhouy as a part of the Hollywood movie series was all the rage in Shanghai and other places, reaching the stage of women and children. After 1949, Chaplin’s film was again taken as a place to expose the material image of capitalism in the very narrow foreign films of the Chinese cinema. The “Ci Hai”, compiled before the Cultural Revolution, gave Zhu’s longest term among the very limited entries of foreign filmmakers. However, these are only unilateral attitudes toward Chaplin, either from the business or from politics. From the perspective of Zhuo’s clan, we can not really say anything special about China. Although he was very wealthy in his career in the 1930s to exorcise the invention of audio-visual films, The round trip on the way to the world