I am certainly not well-versed when it comes to silent films. In fact, I can count on two hands the number of silent films I have seen in completion. However, that by no means lessens the effect this movie had on me when I first saw it. City Lights has the greatest balance of comedy and romance I have ever seen, and what makes this all the more remarkable is the fact that words are never spoken. What Chaplin accomplishes here through direction and acting is unparalleled, and evokes a mixture of emotions from the viewer that can be found in few other films.
The story is simple. Chaplin plays a tramp who, while meandering the streets one day, happens upon a blind flower girl with whom he becomes entranced. He learns that she lives with her aunt, and that they are in a critical state financially. After saving a drunk, depressed rich man from drowning himself one night, he forms a friendship with him that is dependent upon his sobriety. When the man is sober he doesn't remember him, but when he is drunk, they are the best of friends. Using this relationship to his advantage, and finding employment by any means possible, he poses as a rich man to help the girl along and support her in any way necessary.
The film's ending is one that is both tragic and romantic. It is critically recognised as one of the best endings of a film ever. What makes it work for me, is the fact that it can be interpreted in more than one way. This ambiguity leaves it up to the viewer to decide whether it is actually tragic or not.
Few films have made me laugh more heartily. Chaplin's use of body movements and facial expression makes his character addictively funny, and progresses the film along with ease. The absence of words is virtually unnoticeable, even to the least familiar with the silent picture. This is one of the most enjoyable movies ever made, and combined with it's sweet ending, also one of the most memorable.
© 2007 Kim Bartlett
The story is simple. Chaplin plays a tramp who, while meandering the streets one day, happens upon a blind flower girl with whom he becomes entranced. He learns that she lives with her aunt, and that they are in a critical state financially. After saving a drunk, depressed rich man from drowning himself one night, he forms a friendship with him that is dependent upon his sobriety. When the man is sober he doesn't remember him, but when he is drunk, they are the best of friends. Using this relationship to his advantage, and finding employment by any means possible, he poses as a rich man to help the girl along and support her in any way necessary.
The film's ending is one that is both tragic and romantic. It is critically recognised as one of the best endings of a film ever. What makes it work for me, is the fact that it can be interpreted in more than one way. This ambiguity leaves it up to the viewer to decide whether it is actually tragic or not.
Few films have made me laugh more heartily. Chaplin's use of body movements and facial expression makes his character addictively funny, and progresses the film along with ease. The absence of words is virtually unnoticeable, even to the least familiar with the silent picture. This is one of the most enjoyable movies ever made, and combined with it's sweet ending, also one of the most memorable.
© 2007 Kim Bartlett
I've done a piss poor job of commenting on your top 50 haven't I? Anyways I had to shout out City Lights. I lurve Chaplin.
ReplyDeleteOne of my all time favourites as well, it's one of those few films that never fails to draw on a variety of emotions at the appropriate times. Chaplin's best film in my opinion.
ReplyDeleteThere's never really enough to be said of City Lights. It just gets under your skin so effectively... Chaplin had this amazing, amazing ability to literally make your emotions change within a minute. And this film in particular works better than any other Chaplin I've ever seen... and it's definitely got one of the best, if not the, endings of all time.
ReplyDeleteAnd it's just so damn LOVELY!