list http://www.spout.com/ Recent community activity around Modern Times on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Modern_Times/22994/default.aspx Title: Modern Times
Year: 1936
Director: Charles Chaplin
Plot: This episodic satire of the Machine Age is considered Charles Chaplin's last "silent" film, although Chaplin uses sound, vocal, and musical effects throughout. Chaplin stars as an assembly-line worker driven insane by the monotony of his job. After a long spell in an asylum, he searches for work, only to be mistakenly arrested as a Red agitator. Released after foiling a prison break, Chaplin makes the acquaintance of orphaned gamine (Paulette Goddard) and becomes her friend and protector. He takes on several new jobs for her benefit, but every job ends with a quick dismissal and yet another jail term. During one of his incarcerations, she is hired to dance at a nightclub and arranges for him to be hired there as a singing waiter. He proves an enormous success, but they are both forced to flee their jobs when the orphanage officials show up to claim the girl. Dispirited, she moans, "What's the use of trying?" But the ever-resourceful Chaplin tells her to never say die, and our last image is of Chaplin and The Gamine strolling down a California highway towards new adventures. The plotline of Modern Times is as loosely constructed as any of Chaplin's pre-1915 short subjects, permitting ample space for several of the comedian's most memorable routines: the "automated feeding machine," a nocturnal roller-skating episode, and Chaplin's double-talk song rendition in the nightclub sequence. In addition to producing, directing, writing, and starring in Modern Times, Chaplin also composed its theme song, Smile, which would later be adopted as Jerry Lewis' signature tune. ~ Hal Erickson, All Movie Guide
Times Tagged: 25
Number of Lists: 40
Number of blog posts: 5
Number of discussion threads: 4
SpoutRating: 4
]]>Wed, 13 May 2009 03:00:06 GMTModern Times1936Charles ChaplinThis episodic satire of the Machine Age is considered <a href="/players/P____12334/default.aspx" style='text-decoration:underline'>Charles Chaplin</a>'s last "silent" film, although Chaplin uses sound, vocal, and musical effects throughout. Chaplin stars as an assembly-line worker driven insane by the monotony of his job. After a long spell in an asylum, he searches for work, only to be mistakenly arrested as a Red agitator. Released after foiling a prison break, Chaplin makes the acquaintance of orphaned gamine (<a href="/players/P____27336/default.aspx" style='text-decoration:underline'>Paulette Goddard</a>) and becomes her friend and protector. He takes on several new jobs for her benefit, but every job ends with a quick dismissal and yet another jail term. During one of his incarcerations, she is hired to dance at a nightclub and arranges for him to be hired there as a singing waiter. He proves an enormous success, but they are both forced to flee their jobs when the orphanage officials show up to claim the girl. Dispirited, she moans, "What's the use of trying?" But the ever-resourceful Chaplin tells her to never say die, and our last image is of Chaplin and The Gamine strolling down a California highway towards new adventures. The plotline of Modern Times is as loosely constructed as any of Chaplin's pre-1915 short subjects, permitting ample space for several of the comedian's most memorable routines: the "automated feeding machine," a nocturnal roller-skating episode, and Chaplin's double-talk song rendition in the nightclub sequence. In addition to producing, directing, writing, and starring in Modern Times, Chaplin also composed its theme song, Smile, which would later be adopted as <a href="/players/P____99633/default.aspx" style='text-decoration:underline'>Jerry Lewis</a>' signature tune. ~ Hal Erickson, All Movie Guide25Tag Target (>10)40544http://www.spout.com/ProductImages/t32657liskc.jpghttp://www.spout.com/films/Modern_Times/22994/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/11/26/37694.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/26/2008 5:01:30 PM
Body: Black Friday is a scary time for shoppers in any given year. The crowds, the lines, the difficulty finding parking — all these and more are common annoyances on the day after Thanksgiving, as millions upon millions of Americans begin the Christmas season by making a run for the shopping malls and department stores in hopes of finding the best bargains. This year, of course, the economic downturn will make the day even worse than usual. The stores may be desperately holding the biggest sales we’ll ever witness, but lowest prices aren’t quite low enough for those who are broke or bankrupt. So, you may stay home this Friday. Perhaps you’ll at least make some minor online purchases, because you’re a patriotic, consuming American and it’s kind of like an unofficial holiday in our capitalist democracy. But don’t not go out to the mall simply because of the craziness potentially happening on its many floors of fashion and furnishings. You mustn’t be frightened of the crowds. Just recall any or all of the following ten movie scenes and by comparison you’ll think your Black Friday errands are like a stroll in the park. 10. Arnold Schwarzenegger vs. Sinbad in Jingle All the Way (1996) Maybe in the past there were physical fights for Cabbage Patch Kids or Mighty Morphin Power Rangers, but in the age of the Internet, there are easier ways of tracking down hot items on your kid’s wish list. So, while this sequence depicting two fathers’ desperate attempts to locate a Turbo Man toy is ridiculously exaggerated and despicably malicious for its time, it’s now even farther from likelihood and even less possible to sympathize with or relate to. 9. Beethoven shops for keyboards, Genghis Khan tries out baseball bats and other historical figures experience 1980s mall culture in Bill & Ted’s Excellent Adventure (1988) Obviously you don’t think you’ll be running into such oldies as Abraham Lincoln, Joan of Arc or Billy the Kid, but there could be some relatively ancient folks out and about Friday. And they may not be familiar with such newfangled presents as iPods and Blu-ray. But give the Grannies a break, because they haven’t yet mastered Amazon.com and its not like they’re causing too much ruckus. Unlike Joan and Genghis. 8. Madison learns English at Bloomingdales in Splash (1984) Maybe it is plausible for a mermaid to pick up the local language by watching a few hours of television. How are we to prove otherwise? But wouldn’t she have some kind of an accent if she were used to communicating with high-pitched shrieks? Whatever, it’s obviously not the movie for such questions regarding believabilty. Here’s the more important thing to consider: of all the yelling and screaming going on at the shops this Friday, nothing will be as bad as Madison’s pronunciation of her real name. Also, I bet modern TV screens aren’t as easily shattered. 7. Neo-Nazi salesman at the Army Surplus store in Falling Down (1993) It’s true that many salespersons and cashiers are slow, rude, incompetent or all of the above. But thank goodness there aren’t actually a lot of sexist, homophobic neo-Nazis helping you as you buy shoes. As much as you think you’ve experienced the worst employee ever hired by a retail chain, chances are it wasn’t as much of an inconvenience as it was for William Foster (Michael Douglas) to have to deal with this “sick asshole.” 6. Technicolor fashion show in The Women (1939) This scene is so unnecessary to the film’s plot that it was easily removed for some modern screenings. Mostly it seems just to serve as a showcase for costume designer Adrian, whose fashions are displayed in Technicolor, while the rest of the film is presented in black and white. For the film’s characters to wear any of those outfits, they would have appeared too bold and sexy for their time (it would be like in Pleasantville). Imagine shopping in a store where the clothes aren’t even in the same color spectrum as the world you live in? Okay, in some stores it does seem like that’s the case, but nowhere near as bad as this. 5. Bizarre fashion show in True Stories (1986) And despite its dismissal of physics, the parade in The Women is nowhere near as bad as the fashion show in this bizarre film from Talking Heads frontman David Byrne. There’s not even anything that can be said for this scene other than that we should all be thankful the kids aren’t wearing anything quite so ridiculous. Even some of the stuff at Hot Topic seems more normal in comparison. 4. After hours shopping spree in Modern Times (1936) One great fantasy for all good, consumerist Americans is the empty-store scenario. Whether it’s the end of the world (a la Night of the Comet and 28 Days Later) or simply after hours (Mannequin; El Crimen Ferpecto), the dream is somewhat the same: free reign on all the goods in the store, from food to fashion to roller skates. And for a poor little gamin in Modern Times, it’s like a heavenly shopping spree, even if none of the items are to leave the department store when the fun is over. However, as much as you might hope you had the stores all to yourself on Friday, be thankful that you’re obeying the rules and laws and therefore won’t be arrested when the shopping’s done. 3. Mall car chase in The Blues Brothers (1980) Good thing there’s a quick shot of a Toys “R” Us customer asking a cashier for a Miss Piggy doll or this scene wouldn’t really have anything to do with shopping. It would just simply be a chaotic car chase through a shopping mall. Of course, the destruction could still read as a destroying of the idea of capitalism, just as a similar reading is made about the mall fight in Jackie Chan’s Police Story, as well as any other such mall-set action scene, of which there seemed to be plenty in the materialistic 1980s. As fun as it seems, and as frustrated you might get on Friday, please don’t drive your car into any stores. 2. Zombies go shopping in Dawn of the Dead (1978) This movie is not just some horror flick about people trapped in a mall, threatened by a terrorizing enemy. That’s Chopping Mall. Or the Dawn of the Dead remake. No, this is a satire of consumerism, and all those zombies are representative of the folks you’ll be encountering on Black Friday. But at least they won’t try and eat you. Probably. 1. Richard Pryor is reduced to property in The Toy (1982) Kids are really spoiled these days, even more than they were twenty-six years ago, but no matter how hard it is to imagine what to get the boy who has everything, don’t even think of asking an African-American man if you can buy him for your son. Originally posted on:SpoutBlog
]]>Wed, 26 Nov 2008 22:01:30 GMTSpoutBlogSpoutBlog on spout.com11/26/2008 5:01:30 PMBlack Friday is a scary time for shoppers in any given year. The crowds, the lines, the difficulty finding parking — all these and more are common annoyances on the day after Thanksgiving, as millions upon millions of Americans begin the Christmas season by making a run for the shopping malls and department stores in hopes of finding the best bargains. This year, of course, the economic downturn will make the day even worse than usual. The stores may be desperately holding the biggest sales we’ll ever witness, but lowest prices aren’t quite low enough for those who are broke or bankrupt. So, you may stay home this Friday. Perhaps you’ll at least make some minor online purchases, because you’re a patriotic, consuming American and it’s kind of like an unofficial holiday in our capitalist democracy. But don’t not go out to the mall simply because of the craziness potentially happening on its many floors of fashion and furnishings. You mustn’t be frightened of the crowds. Just recall any or all of the following ten movie scenes and by comparison you’ll think your Black Friday errands are like a stroll in the park. 10. Arnold Schwarzenegger vs. Sinbad in Jingle All the Way (1996) Maybe in the past there were physical fights for Cabbage Patch Kids or Mighty Morphin Power Rangers, but in the age of the Internet, there are easier ways of tracking down hot items on your kid’s wish list. So, while this sequence depicting two fathers’ desperate attempts to locate a Turbo Man toy is ridiculously exaggerated and despicably malicious for its time, it’s now even farther from likelihood and even less possible to sympathize with or relate to. 9. Beethoven shops for keyboards, Genghis Khan tries out baseball bats and other historical figures experience 1980s mall culture in Bill & Ted’s Excellent Adventure (1988) Obviously you don’t think you’ll be running into such oldies as Abraham Lincoln, Joan of Arc or Billy the Kid, but there could be some relatively ancient folks out and about Friday. And they may not be familiar with such newfangled presents as iPods and Blu-ray. But give the Grannies a break, because they haven’t yet mastered Amazon.com and its not like they’re causing too much ruckus. Unlike Joan and Genghis. 8. Madison learns English at Bloomingdales in Splash (1984) Maybe it is plausible for a mermaid to pick up the local language by watching a few hours of television. How are we to prove otherwise? But wouldn’t she have some kind of an accent if she were used to communicating with high-pitched shrieks? Whatever, it’s obviously not the movie for such questions regarding believabilty. Here’s the more important thing to consider: of all the yelling and screaming going on at the shops this Friday, nothing will be as bad as Madison’s pronunciation of her real name. Also, I bet modern TV screens aren’t as easily shattered. 7. Neo-Nazi salesman at the Army Surplus store in Falling Down (1993) It’s true that many salespersons and cashiers are slow, rude, incompetent or all of the above. But thank goodness there aren’t actually a lot of sexist, homophobic neo-Nazis helping you as you buy shoes. As much as you think you’ve experienced the worst employee ever hired by a retail chain, chances are it wasn’t as much of an inconvenience as it was for William Foster (Michael Douglas) to have to deal with this “sick asshole.” 6. Technicolor fashion show in The Women (1939) This scene is so unnecessary to the film’s plot that it was easily removed for some modern screenings. Mostly it seems just to serve as a showcase for costume designer Adrian, whose fashions are displayed in Technicolor, while the rest of the film is presented in black and white. For the film’s characters to wear any of those outfits, they would have appeared too bold and sexy for their time (it would be like in Pleasantville). Imagine shopping in a store where the clothes aren’t even in the same color spectrum as the world you live in? Okay, in some stores it does seem like that’s the case, but nowhere near as bad as this. 5. Bizarre fashion show in True Stories (1986) And despite its dismissal of physics, the parade in The Women is nowhere near as bad as the fashion show in this bizarre film from Talking Heads frontman David Byrne. There’s not even anything that can be said for this scene other than that we should all be thankful the kids aren’t wearing anything quite so ridiculous. Even some of the stuff at Hot Topic seems more normal in comparison. 4. After hours shopping spree in Modern Times (1936) One great fantasy for all good, consumerist Americans is the empty-store scenario. Whether it’s the end of the world (a la Night of the Comet and 28 Days Later) or simply after hours (Mannequin; El Crimen Ferpecto), the dream is somewhat the same: free reign on all the goods in the store, from food to fashion to roller skates. And for a poor little gamin in Modern Times, it’s like a heavenly shopping spree, even if none of the items are to leave the department store when the fun is over. However, as much as you might hope you had the stores all to yourself on Friday, be thankful that you’re obeying the rules and laws and therefore won’t be arrested when the shopping’s done. 3. Mall car chase in The Blues Brothers (1980) Good thing there’s a quick shot of a Toys “R” Us customer asking a cashier for a Miss Piggy doll or this scene wouldn’t really have anything to do with shopping. It would just simply be a chaotic car chase through a shopping mall. Of course, the destruction could still read as a destroying of the idea of capitalism, just as a similar reading is made about the mall fight in Jackie Chan’s Police Story, as well as any other such mall-set action scene, of which there seemed to be plenty in the materialistic 1980s. As fun as it seems, and as frustrated you might get on Friday, please don’t drive your car into any stores. 2. Zombies go shopping in Dawn of the Dead (1978) This movie is not just some horror flick about people trapped in a mall, threatened by a terrorizing enemy. That’s Chopping Mall. Or the Dawn of the Dead remake. No, this is a satire of consumerism, and all those zombies are representative of the folks you’ll be encountering on Black Friday. But at least they won’t try and eat you. Probably. 1. Richard Pryor is reduced to property in The Toy (1982) Kids are really spoiled these days, even more than they were twenty-six years ago, but no matter how hard it is to imagine what to get the boy who has everything, don’t even think of asking an African-American man if you can buy him for your son. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/11/19/37441.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/19/2008 1:01:04 PM
Body: Unemployment is about to get even worse now that Citigroup has announced it will cut 52,000 jobs early next year. And falsely reported news of a killing in Santa Clara, California (the shooter was fired, not laid off) only adds to the bleak atmosphere surrounding the already upsetting job market. But while desperate times may lead to desperate measures, it’s vital for us to remember what we learned from the films of the 1930s, when the Great Depression caused a nearly 25% rate of unemployment (we’re currently at 6.5%). Hopeful stories of upward mobility and implausible solutions were popular at the time, though many of them had downsides or inspired the desire for unlikely prospects. Still, there was some guidance to be found buried within the fantasies of Hollywood, and SpoutBlog has compiled this handy list to help you make the right choices during your current or imminent joblessness. Film: Little Caesar (1931) Tip: Dancing is ultimately more lucrative than crime. We learned over and over from films in the 1930s that crime doesn’t pay, and with Little Caesar we learned the additional tip that if you’re going to be a cocky, power-hungry little jerk with leadership goals, you better have the balls to back up your bite. However, the best advice acquired from Francis Edward Faragoh and Robert N. Lee’s Oscar-nominated screenplay is that life as a dancer is a much better career path than that of a gangster. Sure, there may be a few dangers if your gig is at a mob-run club or if your former best friend is your boss’ rival, a la the conflict between Joe (Douglas Fairbanks Jr.) and Rico (Edward G. Robinson) in Mervyn LeRoy’s film. But unlike your old buddy, who will literally die in a gutter, you might find wealth, stardom and love. Worst-case scenario, you don’t become rich and famous but you get a job teaching little kids at a dance studio in suburbia. Whereas there’s no such thing as a crime studio. Film: Trouble in Paradise (1932) Tip: Falling for your mark, and/or your boss, is fine as long as you get a bonus out of it and then return to your true love It’s clear from the start that fellow pickpockets Gaston (Herbert Marshall) and Lily (Miriam Hopkins) are made for each other. Yet when the duo acquire jobs working for the wealthy perfumer Madame Colet (Kay Francis) in a scheme to con her out of her money, Gaston goes and complicates things by developing feelings for his new employer/mark. Fortunately, after dipping his hands into both her purses (oh the innuendo!), he comes away with the jackpot and is able to fall back into place with his equal. Getting a job where you’re partially a gigolo can be rewarding in terms of special perks, both sexual and financial, but ultimately a relationship between employee and employer is difficult, especially if there’s a real class clash involved. So get in quick, get out on top and find a nice girl with whom you’ve got more in common. Film: King Kong (1933) Tip: If you’re cast in a film, make sure it’s a local production. Tons of unemployed people turn to showbiz as a solution to their situation, and a quick glance on Craigslist reveals plenty of calls for film and TV extras. But be wary, because if it sounds too good to be true, it probably is. And be suspicious of “directors” who approach you on the street offering you the role of a lifetime. It’s possible the guy’s a real Hollywood player like Carl Denham (Robert Armstrong), but it’s also possible that the gig will bring you to a remote island where you’ll attract the largest stalker ever imagined. In the end, you might actually become a big star, just like Ann Darrow (Fay Wray), but by then many will have paid for your social status with their lives, and you’ll have to live with the guilt. So when answering ads looking for actors, don’t get on any boats headed to far off places. Stick to locally shot films, on which you’re likely to experience fewer dangers and meet fewer giant apes. Film: Lady for a Day (1933) Tip: Don’t lie to your family about being underemployed, because you’ll just wind up more depressed. Apple Annie (May Robson) ends up getting away with her masquerade, in which she convinces her daughter that she’s a well-to-do socialite rather than a poor fruit peddler, but at what cost? Now she’s lied to her child and, worse, given herself a taste of the good life, a high from which she must come down. And with that perspective in mind she’s surely going to hate her true social place even more. So if you’re underemployed, don’t lie about it, not even to your parents. Best circumstance, they help you out a little with your finances. Worst circumstance, you feel even more depressed about your situation and you take your own life — whether literally or, like Annie, figuratively. Plus, if your parents do end up finding out the truth, they’ll be more disappointed with you than they would have been if told the truth all along. Film: Triumph of the Will (1935) Tip: Don’t work for a mad, genocidal dictator unless you want the association to follow you to your grave. Leni Riefenstahl may have denied having full allegiance to Hitler and the Nazis, but she’ll forever be known as the director who helped propagandize the party right up until the beginning of World War II. And to many that makes her one of the bad guys. Whether she’s truly guilty by association, her kind of situation is constantly a topic of ethical debate. Maybe working for later-exposed criminals will keep you from getting elected one day. Maybe working for evil emperors will get you blown up while doing contract work on a giant space station. Either way, it’s best to do as much of a background check on your potential bosses as they’re doing on you. Film: Modern Times (1936) Tip: Don’t be a slave to the machines, or one day they’ll enslave you. That sounds like advice to be gotten from The Matrix, but that film’s dystopia is precisely the kind of future Chaplin was warning about. So much of the imagery in this film consists of workers depending on machines, either to help do the job or feed them, and workers being trapped in machines, figuratively enslaved by them. If you end up getting a job on the internet, and that’s more and more likely to be your best shot at employment these days, you’ll understand Chaplin’s fears better than he could ever have imagined. Film: Mr. Deeds Goes to Town (1936) Tip: Breaking into a rich man’s home will likely get you a job. It’s thanks to a desperate little farmer that the newly rich Deeds (Gary Cooper) decides to divvy up his millions and donate plots of land to the poor. And the gun-wielding intruder doesn’t get thrown in jail; he becomes one of the many who are eligible for some of that free acreage. Hollywood pipe dream, sure, but the concept also seemed to work outside of American cinema. In Renoir’s The Rules of the Game, a man (Julien Carette) is caught trespassing on a wealthy estate and he’s offered a job. However, it may not be necessary to actually commit the crime of breaking and entering to get the attention of potential beneficiaries and employers. In Renoir’s Boudu Saved From Drowning the titular bum is merely witnessed attempting suicide in the Seine (though in Paul Mazursky’s ‘80s remake, Down and Out in Beverly Hills, the bum is also an intruder). And in My Man Godfrey the titular bum is plucked out of the trash and eventually brought home and employed as a butler. Which brings up the next tip. Film: My Man Godfrey (1936) Tip: If forced to become a servant, don’t steal the boss’ daughter’s necklace, pawn it and then gamble with the money made in order to further improve your situation, because only William Powell is good enough to get away with it. You are not as smooth as William Powell; it’s just not possible. So, while he (and his character, Godfrey) is able to come out of this film on top, in the same situation you would more than likely end up back on the garbage heap (without a nightclub built on the spot, that is). Firstly, he’s able to charm the socialite Irene (Carole Lombard) enough to escape homelessness, acquire a position as her family’s butler and eventually win her heart. Secondly, when Irene’s bitter sister, Cornelia (Gail Patrick), attempts to frame him as a necklace nabber, he beats her at her game and follows through to win out even more. What he does with the jewelry, though, would still get most people arrested, even if the ends do justify the means. Never do as Powell does, because nobody can pull off anything as well as he can. Film: You Can’t Take it With You (1938) Tip: Taking up seemingly utopian residence in a commune full of oddballs will likely get you thrown in jail. Grandpa Vanderhof (Lionel Barrymore) wasn’t claiming to be prophet nor did he (as far as we know) have a harem of young wives stored away somewhere in his house, but these days a freewheeling place like his might attract the attention of the Bureau of Alcohol, Tobacco and Firearms or some other government agency assigned to shutting down cults and terrorist organizations. Even then his home was suspected of being a den for treasonous plots, leading to an FBI raid and mass arrest. So, while it may seem like a dream come true to be wooed in by a jolly old man promising free living and the chance to be a toymaker, there’s actually no such thing as Santa Claus, and that man is probably doing something illegal to accommodate such a lifestyle. Film: The Grapes of Wrath (1939) Tip: Don’t settle for wages lower than is standard for the work. If you’re really hungry and desperate for work, you might think about taking only 25 cents an hour for a job you used to do for 30 cents. This happens often with competitive fields, whether it is migrant farming or blogging, but it only lowers your worth and it encourages your employers to keep decreasing the wages as long as someone is willing to settle. Eventually, either your fellow workers or the previous, underbid employees are going to be provoked by the situation and then there’s the chance of violence and further oppression. Plus, then you might be out of the job anyway. Potentially on the run, like Tom Joad (Henry Fonda), too. Originally posted on:SpoutBlog
]]>Wed, 19 Nov 2008 18:01:04 GMTSpoutBlogSpoutBlog on spout.com11/19/2008 1:01:04 PMUnemployment is about to get even worse now that Citigroup has announced it will cut 52,000 jobs early next year. And falsely reported news of a killing in Santa Clara, California (the shooter was fired, not laid off) only adds to the bleak atmosphere surrounding the already upsetting job market. But while desperate times may lead to desperate measures, it’s vital for us to remember what we learned from the films of the 1930s, when the Great Depression caused a nearly 25% rate of unemployment (we’re currently at 6.5%). Hopeful stories of upward mobility and implausible solutions were popular at the time, though many of them had downsides or inspired the desire for unlikely prospects. Still, there was some guidance to be found buried within the fantasies of Hollywood, and SpoutBlog has compiled this handy list to help you make the right choices during your current or imminent joblessness. Film: Little Caesar (1931) Tip: Dancing is ultimately more lucrative than crime. We learned over and over from films in the 1930s that crime doesn’t pay, and with Little Caesar we learned the additional tip that if you’re going to be a cocky, power-hungry little jerk with leadership goals, you better have the balls to back up your bite. However, the best advice acquired from Francis Edward Faragoh and Robert N. Lee’s Oscar-nominated screenplay is that life as a dancer is a much better career path than that of a gangster. Sure, there may be a few dangers if your gig is at a mob-run club or if your former best friend is your boss’ rival, a la the conflict between Joe (Douglas Fairbanks Jr.) and Rico (Edward G. Robinson) in Mervyn LeRoy’s film. But unlike your old buddy, who will literally die in a gutter, you might find wealth, stardom and love. Worst-case scenario, you don’t become rich and famous but you get a job teaching little kids at a dance studio in suburbia. Whereas there’s no such thing as a crime studio. Film: Trouble in Paradise (1932) Tip: Falling for your mark, and/or your boss, is fine as long as you get a bonus out of it and then return to your true love It’s clear from the start that fellow pickpockets Gaston (Herbert Marshall) and Lily (Miriam Hopkins) are made for each other. Yet when the duo acquire jobs working for the wealthy perfumer Madame Colet (Kay Francis) in a scheme to con her out of her money, Gaston goes and complicates things by developing feelings for his new employer/mark. Fortunately, after dipping his hands into both her purses (oh the innuendo!), he comes away with the jackpot and is able to fall back into place with his equal. Getting a job where you’re partially a gigolo can be rewarding in terms of special perks, both sexual and financial, but ultimately a relationship between employee and employer is difficult, especially if there’s a real class clash involved. So get in quick, get out on top and find a nice girl with whom you’ve got more in common. Film: King Kong (1933) Tip: If you’re cast in a film, make sure it’s a local production. Tons of unemployed people turn to showbiz as a solution to their situation, and a quick glance on Craigslist reveals plenty of calls for film and TV extras. But be wary, because if it sounds too good to be true, it probably is. And be suspicious of “directors” who approach you on the street offering you the role of a lifetime. It’s possible the guy’s a real Hollywood player like Carl Denham (Robert Armstrong), but it’s also possible that the gig will bring you to a remote island where you’ll attract the largest stalker ever imagined. In the end, you might actually become a big star, just like Ann Darrow (Fay Wray), but by then many will have paid for your social status with their lives, and you’ll have to live with the guilt. So when answering ads looking for actors, don’t get on any boats headed to far off places. Stick to locally shot films, on which you’re likely to experience fewer dangers and meet fewer giant apes. Film: Lady for a Day (1933) Tip: Don’t lie to your family about being underemployed, because you’ll just wind up more depressed. Apple Annie (May Robson) ends up getting away with her masquerade, in which she convinces her daughter that she’s a well-to-do socialite rather than a poor fruit peddler, but at what cost? Now she’s lied to her child and, worse, given herself a taste of the good life, a high from which she must come down. And with that perspective in mind she’s surely going to hate her true social place even more. So if you’re underemployed, don’t lie about it, not even to your parents. Best circumstance, they help you out a little with your finances. Worst circumstance, you feel even more depressed about your situation and you take your own life — whether literally or, like Annie, figuratively. Plus, if your parents do end up finding out the truth, they’ll be more disappointed with you than they would have been if told the truth all along. Film: Triumph of the Will (1935) Tip: Don’t work for a mad, genocidal dictator unless you want the association to follow you to your grave. Leni Riefenstahl may have denied having full allegiance to Hitler and the Nazis, but she’ll forever be known as the director who helped propagandize the party right up until the beginning of World War II. And to many that makes her one of the bad guys. Whether she’s truly guilty by association, her kind of situation is constantly a topic of ethical debate. Maybe working for later-exposed criminals will keep you from getting elected one day. Maybe working for evil emperors will get you blown up while doing contract work on a giant space station. Either way, it’s best to do as much of a background check on your potential bosses as they’re doing on you. Film: Modern Times (1936) Tip: Don’t be a slave to the machines, or one day they’ll enslave you. That sounds like advice to be gotten from The Matrix, but that film’s dystopia is precisely the kind of future Chaplin was warning about. So much of the imagery in this film consists of workers depending on machines, either to help do the job or feed them, and workers being trapped in machines, figuratively enslaved by them. If you end up getting a job on the internet, and that’s more and more likely to be your best shot at employment these days, you’ll understand Chaplin’s fears better than he could ever have imagined. Film: Mr. Deeds Goes to Town (1936) Tip: Breaking into a rich man’s home will likely get you a job. It’s thanks to a desperate little farmer that the newly rich Deeds (Gary Cooper) decides to divvy up his millions and donate plots of land to the poor. And the gun-wielding intruder doesn’t get thrown in jail; he becomes one of the many who are eligible for some of that free acreage. Hollywood pipe dream, sure, but the concept also seemed to work outside of American cinema. In Renoir’s The Rules of the Game, a man (Julien Carette) is caught trespassing on a wealthy estate and he’s offered a job. However, it may not be necessary to actually commit the crime of breaking and entering to get the attention of potential beneficiaries and employers. In Renoir’s Boudu Saved From Drowning the titular bum is merely witnessed attempting suicide in the Seine (though in Paul Mazursky’s ‘80s remake, Down and Out in Beverly Hills, the bum is also an intruder). And in My Man Godfrey the titular bum is plucked out of the trash and eventually brought home and employed as a butler. Which brings up the next tip. Film: My Man Godfrey (1936) Tip: If forced to become a servant, don’t steal the boss’ daughter’s necklace, pawn it and then gamble with the money made in order to further improve your situation, because only William Powell is good enough to get away with it. You are not as smooth as William Powell; it’s just not possible. So, while he (and his character, Godfrey) is able to come out of this film on top, in the same situation you would more than likely end up back on the garbage heap (without a nightclub built on the spot, that is). Firstly, he’s able to charm the socialite Irene (Carole Lombard) enough to escape homelessness, acquire a position as her family’s butler and eventually win her heart. Secondly, when Irene’s bitter sister, Cornelia (Gail Patrick), attempts to frame him as a necklace nabber, he beats her at her game and follows through to win out even more. What he does with the jewelry, though, would still get most people arrested, even if the ends do justify the means. Never do as Powell does, because nobody can pull off anything as well as he can. Film: You Can’t Take it With You (1938) Tip: Taking up seemingly utopian residence in a commune full of oddballs will likely get you thrown in jail. Grandpa Vanderhof (Lionel Barrymore) wasn’t claiming to be prophet nor did he (as far as we know) have a harem of young wives stored away somewhere in his house, but these days a freewheeling place like his might attract the attention of the Bureau of Alcohol, Tobacco and Firearms or some other government agency assigned to shutting down cults and terrorist organizations. Even then his home was suspected of being a den for treasonous plots, leading to an FBI raid and mass arrest. So, while it may seem like a dream come true to be wooed in by a jolly old man promising free living and the chance to be a toymaker, there’s actually no such thing as Santa Claus, and that man is probably doing something illegal to accommodate such a lifestyle. Film: The Grapes of Wrath (1939) Tip: Don’t settle for wages lower than is standard for the work. If you’re really hungry and desperate for work, you might think about taking only 25 cents an hour for a job you used to do for 30 cents. This happens often with competitive fields, whether it is migrant farming or blogging, but it only lowers your worth and it encourages your employers to keep decreasing the wages as long as someone is willing to settle. Eventually, either your fellow workers or the previous, underbid employees are going to be provoked by the situation and then there’s the chance of violence and further oppression. Plus, then you might be out of the job anyway. Potentially on the run, like Tom Joad (Henry Fonda), too. Originally posted on:SpoutBlog http://www.spout.com/blogs/risselada/archive/2008/9/19/35319.aspx Post By: Risselada
Post To: Risselada Blog
Post Date: 9/19/2008 3:36:15 PM
Body: This blog entry is part of my “movie year countdown”. To read more about that check out my first Spout filmblog entry. City Lights This is the forth Chaplin movies I've seen now, and I've given them all different ratings. This one has been my second favorite so far, with Modern Times still being my absolute favorite. City Lights doesn't have QUITE the same zaniness or scale as I can quite remember that movie having. Although it may have a bit more heart. The highlight of the film is certainly the boxing scene. If ever moment of this film had been as perfect as that I might not have been able to contain myself. Although the iconic final scene of the movie just about pushed me into giving this movie a perfect ten. Sad to hear that Virginia Cherrill and Chaplin got along so horribly during the filming of this movie. Fortunately it doesn't seem to show on camera. Rating: 9/10
]]>Fri, 19 Sep 2008 19:36:15 GMTRisseladaRisselada Blog9/19/2008 3:36:15 PMThis blog entry is part of my &ldquo;movie year countdown&rdquo;. To read more about that check out my first Spout filmblog entry. City Lights This is the forth Chaplin movies I've seen now, and I've given them all different ratings. This one has been my second favorite so far, with Modern Times still being my absolute favorite. City Lights doesn't have QUITE the same zaniness or scale as I can quite remember that movie having. Although it may have a bit more heart. The highlight of the film is certainly the boxing scene. If ever moment of this film had been as perfect as that I might not have been able to contain myself. Although the iconic final scene of the movie just about pushed me into giving this movie a perfect ten. Sad to hear that Virginia Cherrill and Chaplin got along so horribly during the filming of this movie. Fortunately it doesn't seem to show on camera. Rating: 9/10 http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_September_1_Work_Sucks/625/34650/1/ShowPost.aspx Post By: unclefestering
Post To: Weekly Theme
Post Date: 9/2/2008 2:32:13 PM
Body: I was listening to a rebroadcast of an NPR interview with Andrew Stanton about Wall-E and thought that if anybody had a job that sucked it was that little robot. But as the interview went on, Stanton talked about how they used the techniques of Chaplin because there is so little dialogue in the movie and that reminded me of my favorite Charlie Chaplin movie which fits this category perfectly: Modern Times. Who doesn't love the scene when he is sucked into the gears of the giant factory machines? Or him roller skating around the department store as the night watchman?
]]>Tue, 02 Sep 2008 18:32:13 GMTunclefesteringWeekly Theme9/2/2008 2:32:13 PMI was listening to a rebroadcast of an NPR interview with Andrew Stanton about Wall-E and thought that if anybody had a job that sucked it was that little robot. But as the interview went on, Stanton talked about how they used the techniques of Chaplin because there is so little dialogue in the movie and that reminded me of my favorite Charlie Chaplin movie which fits this category perfectly: Modern Times. Who doesn't love the scene when he is sucked into the gears of the giant factory machines? Or him roller skating around the department store as the night watchman? http://www.spout.com/groups/Silent_Film/Re_Favorite_silent_films/589/29826/1/ShowPost.aspx Post By: Risselada
Post To: Silent Film
Post Date: 5/23/2008 1:23:54 PM
Body: Buster Keaton's The General for sure! Also Chaplin's Modern Times, but like City Lights it's not technically a silent movie. It has a score, but just no real diagetic sound. I also LOVE Georges Méliès. I've rented all kinds of his collections. So many of his films are still fascinating today. The Magic of Méliès is a fantastic documentary on him. The whole DVD that it comes on is great actually. A few other of my favorite silent films are:The Cabinet of Dr. CaligariOur HospitalityNanook of the NorthGirl ShySherlock Jr.The Last Laugh I think I'd probably love anything with Keaton, I just haven't seen all of his films yet. I'm on a course to see a bunch of silent movies that are coming up in my queue. This might be an active group for me soon.
]]>Fri, 23 May 2008 17:23:54 GMTRisseladaSilent Film5/23/2008 1:23:54 PMBuster Keaton's The General for sure! Also Chaplin's Modern Times, but like City Lights it's not technically a silent movie. It has a score, but just no real diagetic sound. I also LOVE Georges M&eacute;li&egrave;s. I've rented all kinds of his collections. So many of his films are still fascinating today. The Magic of M&eacute;li&egrave;s is a fantastic documentary on him. The whole DVD that it comes on is great actually. A few other of my favorite silent films are:The Cabinet of Dr. CaligariOur HospitalityNanook of the NorthGirl ShySherlock Jr.The Last Laugh I think I'd probably love anything with Keaton, I just haven't seen all of his films yet. I'm on a course to see a bunch of silent movies that are coming up in my queue. This might be an active group for me soon. http://www.spout.com/groups/Silent_Film/Re_Favorite_silent_films/589/29677/1/ShowPost.aspx Post By: mercurial
Post To: Silent Film
Post Date: 5/21/2008 5:22:02 PM
Body: A Trip to the Moon and Nosferatu are definitely on the top of the list. Modern Times, Battleship Potemkin and The Shiek are also up there. But Spring Fever, which I just recently saw on TCM when they were celebrating Joan Crawford's birthday was just incredible. It immediately became my favorite and have been waiting for them to play it again.
]]>Wed, 21 May 2008 21:22:02 GMTmercurialSilent Film5/21/2008 5:22:02 PMA Trip to the Moon and Nosferatu are definitely on the top of the list. Modern Times, Battleship Potemkin and The Shiek are also up there. But Spring Fever, which I just recently saw on TCM when they were celebrating Joan Crawford's birthday was just incredible. It immediately became my favorite and have been waiting for them to play it again. http://www.spout.com/groups/Top_5/Re_Top_5_Antagonists/190/27116/1/ShowPost.aspx Post By: mercurial
Post To: Top 5
Post Date: 4/9/2008 1:54:50 AM
Body: Top 5 Antagonists: Human1.) Dazed and Confused - O'Bannon - Ben Affleck's character takes the cake as the biggest a**hole and eventually gets what he deserves.2.) Mutiny on the Bounty - Captain Bligh - Sadistic and unflinchingly evil, Captain Bligh is undoubtedly one of cinemas most hated antagonists.3.) What Ever Happened to Baby Jane? - Jane - Bette Davis oozes nastiness from her caked on makeup to her hoarse, smokers voice.4.) Se7en - John Doe - The unseen serial killer in this film intensifies the terror and dread the viewer feels throughout this film, even more so when he reveals himself and his final acts of brutality.5.) Groundhog Day - Phil "like the groundhog!" Connors - Bill Murray is incredibly noxious for most of the film as a jaded weather man forced to relive the same day over and over again.Runner's Up: Strangeland, Misery, All About Eve, Man Bites Dog, Lemony Snicket's, Dogville Top 5 Antagonists: Supernatural / Science Fiction1.) The Wizard of Oz - The Wicked Witch of the West - Damn if that green-skinned witch isn't the meanest *itch in all of Oz and cinema.2.) Star Wars Trilogy - Darth Vader - Masked and menacing, Darth Vader is felt through each film even when he's not on screen.3.) Jaws - The Great White Shark - Only supernatural in it's damned ability to know what's going on in every inch of the ocean, the shark is one evil son of a *itch.4.) Halloween - Michael Myers - Again, masked and scary as hell, Michael Myers is the definition of a nightmare come to life.5.) Alien - The Alien - In my opinion, one of the creepiest monsters ever imagined.Runner's Up: A Nightmare on Elm Street, Poltergeist, Friday the 13th, Mommie Dearest (Joan Crawford must have had supernatural powers to be that wicked). Top 5 Antagonists: Inanimate Objects1.) The Money Pit - The House - Definitely one of the most aggravating movies where the main antagonist really does nothing but sits there (and continues to fall apart).2.) Speed - The Bus - You try to keep your cool while maintaining the speed limit in L.A. traffic!3.) Cube - The Cube - Murderous booby-traps aplenty, room after room after room after room after room after room after room etc.4.) Maximum Overdrive - The Machines - When those damned semis went crazy, they really went crazy.5.) Modern Times - The Machines - Again, those damned machines getting a mind of their own.
]]>Wed, 09 Apr 2008 05:54:50 GMTmercurialTop 54/9/2008 1:54:50 AMTop 5 Antagonists: Human1.) Dazed and Confused - O&#39;Bannon - Ben Affleck&#39;s character takes the cake as the biggest a**hole and eventually gets what he deserves.2.) Mutiny on the Bounty - Captain Bligh - Sadistic and unflinchingly evil, Captain Bligh is undoubtedly one of cinemas most hated antagonists.3.) What Ever Happened to Baby Jane? - Jane - Bette Davis oozes nastiness from her caked on makeup to her hoarse, smokers voice.4.) Se7en - John Doe - The unseen serial killer in this film intensifies the terror and dread the viewer feels throughout this film, even more so when he reveals himself and his final acts of brutality.5.) Groundhog Day - Phil "like the groundhog!" Connors - Bill Murray is incredibly noxious for most of the film as a jaded weather man forced to relive the same day over and over again.Runner&#39;s Up: Strangeland, Misery, All About Eve, Man Bites Dog, Lemony Snicket&#39;s, Dogville Top 5 Antagonists: Supernatural / Science Fiction1.) The Wizard of Oz - The Wicked Witch of the West - Damn if that green-skinned witch isn&#39;t the meanest *itch in all of Oz and cinema.2.) Star Wars Trilogy - Darth Vader - Masked and menacing, Darth Vader is felt through each film even when he&#39;s not on screen.3.) Jaws - The Great White Shark - Only supernatural in it&#39;s damned ability to know what&#39;s going on in every inch of the ocean, the shark is one evil son of a *itch.4.) Halloween - Michael Myers - Again, masked and scary as hell, Michael Myers is the definition of a nightmare come to life.5.) Alien - The Alien - In my opinion, one of the creepiest monsters ever imagined.Runner&#39;s Up: A Nightmare on Elm Street, Poltergeist, Friday the 13th, Mommie Dearest (Joan Crawford must have had supernatural powers to be that wicked). Top 5 Antagonists: Inanimate Objects1.) The Money Pit - The House - Definitely one of the most aggravating movies where the main antagonist really does nothing but sits there (and continues to fall apart).2.) Speed - The Bus - You try to keep your cool while maintaining the speed limit in L.A. traffic!3.) Cube - The Cube - Murderous booby-traps aplenty, room after room after room after room after room after room after room etc.4.) Maximum Overdrive - The Machines - When those damned semis went crazy, they really went crazy.5.) Modern Times - The Machines - Again, those damned machines getting a mind of their own. http://www.spout.com/blogs/kristen/archive/2008/3/21/26476.aspx Post By: kristen
Post To: kristen Blog
Post Date: 3/21/2008 9:48:44 AM
Body: Chaplin’s works in general are some of the most accessible films to date. He was not popular without reason. Chaplin understands the spirit of life so well that he can relate to all times. Modern Times comically and concernedly shows the workers as slaves to the factory technology. The factory workers become machines themselves, and when Chaplin demonstrates human traits (ex. smoke break in the bathroom) the head boss rebukes him. The workers must conform to the demands of the factory; their value lies in nothing more than material output. However, factory life was the life of honest survival. People need jobs in order to eat. The sad truth is that to stay alive in these conditions, one must surrender part of his/her humanity. Today, we may understand to a greater degree the demand for domestic product over the concern for life in the workplace. With the industrial age, jobs became life, rather than something needed for survival. Chaplin cannot conform. The repetition of the workplace causes a nervous breakdown, which allows Chaplin to express fully his humanity. He cannot surrender himself to a product. The inability to conform preserves the ideals that Chaplin holds. He remains human, and for this rash outbreak of life, Chaplin finds himself in prison. What is sad is that prison is more humane than the workplace. In prison, Chaplin finds food and shelter. He has more freedom than at the job, and at least in prison he does not have to conform to some machine. Prison offers more than the world, which is sad for it boldly questions in what ways we are free. The only thing that keeps Chaplin out of prison is another human. He accidentally meets her while trying to make his way back to prison. He selfishly does a kind deed, and thus begins a relationship. But the relationship evolves from a self-interested one to one of genuine concern. As they make their way in life together, Chaplin decides that he will even surrender part of himself in order to get a job to provide for her. She, the gamin, on the other hand, can take care of herself. She steals food for herself and others; she escapes the law to live independently. She finds the house for Chaplin to live. She finds a job, and even ends up finding Chaplin a job. However, she is not so independent as to be aloof. She cooks and cleans for Chaplin. Chaplin likewise provides for her by entertaining her in his new job. Both provide for each other, make sacrifices, and struggle together to survive the cruel world. The movie, then, discusses the dichotomy between idealism and realism. The tramp and the gamin long for the good life, which at times they imagine as the middle class home (paradise to them). They long to live within the social structure, to have nice things, food to eat, a place to sleep. They want the ideal of society, but cannot find it in reality. Ultimately the life they, as vagabonds, create is more utopian than reality. The do live with their dreams, and do not surrender their identity. In the end (SPOILER), they are outcasts of society, but their dreams and their ideals keep them happy. They can smile because they have life, something that society has forgotten. The movie does not completely disregard society; that is why the tramp and the gamin want very much to be a part of it. The sound reinforces the themes of technology intruding, but also does not condemn technology. The sound adds to the dichotomy of idealism and realism. It interlaces the film with reality and fantasy. The one time that Chaplin speaks, he embodies life and becomes real. In his imperfections, Chaplin becomes the perfect example of humanity.
]]>Fri, 21 Mar 2008 13:48:44 GMTkristenkristen Blog3/21/2008 9:48:44 AM Chaplin&rsquo;s works in general are some of the most accessible films to date. He was not popular without reason. Chaplin understands the spirit of life so well that he can relate to all times. Modern Times comically and concernedly shows the workers as slaves to the factory technology. The factory workers become machines themselves, and when Chaplin demonstrates human traits (ex. smoke break in the bathroom) the head boss rebukes him. The workers must conform to the demands of the factory; their value lies in nothing more than material output. However, factory life was the life of honest survival. People need jobs in order to eat. The sad truth is that to stay alive in these conditions, one must surrender part of his/her humanity. Today, we may understand to a greater degree the demand for domestic product over the concern for life in the workplace. With the industrial age, jobs became life, rather than something needed for survival. Chaplin cannot conform. The repetition of the workplace causes a nervous breakdown, which allows Chaplin to express fully his humanity. He cannot surrender himself to a product. The inability to conform preserves the ideals that Chaplin holds. He remains human, and for this rash outbreak of life, Chaplin finds himself in prison. What is sad is that prison is more humane than the workplace. In prison, Chaplin finds food and shelter. He has more freedom than at the job, and at least in prison he does not have to conform to some machine. Prison offers more than the world, which is sad for it boldly questions in what ways we are free. The only thing that keeps Chaplin out of prison is another human. He accidentally meets her while trying to make his way back to prison. He selfishly does a kind deed, and thus begins a relationship. But the relationship evolves from a self-interested one to one of genuine concern. As they make their way in life together, Chaplin decides that he will even surrender part of himself in order to get a job to provide for her. She, the gamin, on the other hand, can take care of herself. She steals food for herself and others; she escapes the law to live independently. She finds the house for Chaplin to live. She finds a job, and even ends up finding Chaplin a job. However, she is not so independent as to be aloof. She cooks and cleans for Chaplin. Chaplin likewise provides for her by entertaining her in his new job. Both provide for each other, make sacrifices, and struggle together to survive the cruel world. The movie, then, discusses the dichotomy between idealism and realism. The tramp and the gamin long for the good life, which at times they imagine as the middle class home (paradise to them). They long to live within the social structure, to have nice things, food to eat, a place to sleep. They want the ideal of society, but cannot find it in reality. Ultimately the life they, as vagabonds, create is more utopian than reality. The do live with their dreams, and do not surrender their identity. In the end (SPOILER), they are outcasts of society, but their dreams and their ideals keep them happy. They can smile because they have life, something that society has forgotten. The movie does not completely disregard society; that is why the tramp and the gamin want very much to be a part of it. The sound reinforces the themes of technology intruding, but also does not condemn technology. The sound adds to the dichotomy of idealism and realism. It interlaces the film with reality and fantasy. The one time that Chaplin speaks, he embodies life and becomes real. In his imperfections, Chaplin becomes the perfect example of humanity. http://www.spout.com/blogs/jscott/archive/2007/6/30/12725.aspx Post By: JScott
Post To: JScott Blog
Post Date: 6/30/2007 9:39:00 PM
Body: City Lights is a light hearted comedy on the surface and a much more subtle melodrama at it's core. His pioneering social commentary is common place in all Chaplin films, especially The Great Dictator and The Kid. This film is so obviously a political movie that it opens on a statue representing justice outside of the local courthouse as it is being revealed for the first time.The message of the lower class being forgettable and disposable is repeateded throughout the film but most powerfully at the very end of the film. The Blind Girl is back from Brazil for her surgery and the Tramp is out of prison, but ultimately she is unable to accept him and only placate him with a smile as he eagerly collects any attention she is willing to pay him.Chaplin the first champion of the downtrodden and he inspired Pasolini, DaSica, Almodovar and countless others. Overall the film is impecably put together - everything works. The quirky coincedences lead our hero into situations which are funny, entertaining and yet still put forth a much more sophisticated tale. If you haven't yet done yourself the service of watching a Chaplin film this one would be a great one to start on. Infact I am a believer that all Chaplin films are worthy of starting on as The Gold Rush and Modern Times are just as good (if not better) as any of the other ones I have listed already.He truly is a genius and this is one of his best films, which is tough because they are all really good. 75 years later and he is still timeless and as good as anyone else.
]]>Sun, 01 Jul 2007 01:39:00 GMTJScottJScott Blog6/30/2007 9:39:00 PMCity Lights is a light hearted comedy on the surface and a much more subtle melodrama at it's core. His pioneering social commentary is common place in all Chaplin films, especially The Great Dictator and The Kid. This film is so obviously a political movie that it opens on a statue representing justice outside of the local courthouse as it is being revealed for the first time.The message of the lower class being forgettable and disposable is repeateded throughout the film but most powerfully at the very end of the film. The Blind Girl is back from Brazil for her surgery and the Tramp is out of prison, but ultimately she is unable to accept him and only placate him with a smile as he eagerly collects any attention she is willing to pay him.Chaplin the first champion of the downtrodden and he inspired Pasolini, DaSica, Almodovar and countless others. Overall the film is impecably put together - everything works. The quirky coincedences lead our hero into situations which are funny, entertaining and yet still put forth a much more sophisticated tale. If you haven't yet done yourself the service of watching a Chaplin film this one would be a great one to start on. Infact I am a believer that all Chaplin films are worthy of starting on as The Gold Rush and Modern Times are just as good (if not better) as any of the other ones I have listed already.He truly is a genius and this is one of his best films, which is tough because they are all really good. 75 years later and he is still timeless and as good as anyone else. http://www.spout.com/members/0/tags/funny/MemberTagFilms.aspxfunny
Number of films tagged: 607

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