The New Yorker

WERE FILM FANS to pick a Charlie Chaplin picture that most summons thoughts of President Trump, some might choose “The Gold Rush” or “The Great Dictator,” if not a short titled “The Property Man,” “His New Job” or “Gentlemen of Nerve.”

For his latest topical New Yorker cover, though, Barry Blitt goes with man vs. political machinations in a sly spoof of Chaplin’s gear-grinding clowning in “Modern Times.”

by Barry Blitt / The New Yorker 2017

“Both Chaplin and Trump are iconic clowns,” Blitt says. “In the classic ‘Modern Times,’ the iconic Little Trump character struggles to survive in a world fraught with calamities of his own making at every turn. Alas, his big red clown tie getting caught repeatedly in the works.”

Blitt’s recent notable covers include his “Ejected” art last month of former FBI director James B. Comey being forcibly removed from a flight — visually spoofing the viral images of the doctor who was dragged from a United flight.

“When we were preparing next week’s cover, we couldn’t know exactly what James Comey’s testimony would add to the discussion,” Francoise Mouly, the New Yorker’s art director, tells The Post’s Comic Riffs. ” ‘Lies, plain and simple,’ when it came, was not news, but it was refreshing to hear — and it cinched Barry’s image as an accurate reflection of our times.”

Some other recent Blitt covers:

“Ejected,” by Barry Blitt. (courtesy of The New Yorker 2017)
by Barry Blitt. (courtesy of The New Yorker 2017)

by Barry Blitt courtesy of The New Yorker 2016

Read more:

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How the New Yorker’s Putin/Trump cover came together like ‘a perfect storm’