推荐回答（2个）
卓别林影片的主题通常集中在以下4个方面：①鞭挞不公正、不人道的资本主义社会，反抗剥削和压迫；②反对法西斯独裁，谴责侵略战争；③歌颂底层“小人物”的真、善、美；④针砭人性的弱点，警示人生的误区。
卓别林影片的艺术特点，在他最钟爱的杰作《淘金记》中可窥见一斑：首先是以喜剧为载体表现悲剧。影片开场，淘金者查理(卓别林饰)在冰雪覆盖的山径上悠然行进，浑然不觉身后正紧随一头准备吞噬他的巨熊；查理被暴风雪吹入一间木屋，窃喜天赐安身之所，岂知屋主是个被通缉的杀人犯；查理煮皮鞋充饥，吃得津津有味，他在绝境中的乐观主义博得观众凄然一笑。此类笑中有泪、泪中有笑的例子在影片中俯拾即是。其次是用对比蒙太奇手法叙事。最典型的例子是除夕夜的一场戏：一边是酒吧里的劲歌欢舞，一边是酒吧外查理的孤寂落寞。这一强烈反差揭示了舞女们的失约给查理带来的不安与痛苦，从而凸现了影片的主题，即世界上有比黄金更贵重的东西――同情、理解、友谊、爱情。三是运用哑剧手法，以夸张的表情和动作营造喜剧气氛。四是恰如其分地掺入杂技动作，使其同剧情融为一体。舞女乔琪亚答应除夕夜前来赴宴，查理难以抑制兴奋之情，他蹦到床上，先是头手倒立，继之手握横梁当单杠，来回摆荡……这一精彩片断充分显示了卓别林自幼打下的深厚杂技功底。五是绝大部分镜头使用全景，中景不多，少量远景，特写镜头屈指可数。卓别林有一句名言：全景和远景适合表现喜剧，特写适合表现悲剧。对此，他是身体力行的。他如此倾心于全景也许还有另一层原因。人们毫不怀疑卓别林那张极富表现力的脸足以反映角色的内心世界；但是卓别林却宣称：“全景对我来说是完全不可缺少的。因为我演戏的时候，我的腿、我的脚、我的脸，同样都在表演。”因此，腿脚不入镜头就难以体现他的演技全貌。
卓别林曾经声明，他不是“为电影”而拍电影，他相信笑和哭的力量，他努力的目的是带给人间欢乐。卓别林用行动实践了自己的诺言，他的电影已经成了当今人类的文化瑰宝。
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