In "Sunset Boulevard", an aging star points out that silent film actors didn't need words –"we had faces." Certainly the final scene of Charles Chaplin's silent film classic, "City Lights", supports that statement. In one of the most touching endings to a movie, the face of Chaplin's Tramp fills the screen, displaying a complex array of emotions that leave a lasting impression.

Not that this film is some sappy emotional exhibit – far from it. It's funny, brash, and touching all at once. And it shows Chaplin in top form, providing the finest details, the grace, and split second timing that are so much more the essence of Chaplin than the "trampisms" (the walk, the cane twirling, etc.) In one scene, Chaplin descends a statue on which he has been sleeping, backing himself onto a stone sword that perfectly slips into a hole in the seat of his pants. Talk about split second timing and perfect aim!

In this well-told tale, Chaplin's Tramp saves the life of an eccentric alcoholic millionaire, who cavorts with and recognizes the Tramp only when drunk. This provides the backdrop for several extremely funny sequences, including an attempted suicide by drowning, a night out on the town at a posh party, the Tramp interrupting an uppity singer with the hiccups, and an escape from the police after a misunderstanding.

The main plot, however, deals with Chaplin's bittersweet relationship with a blind flower girl, who mistakes the Tramp for a rich suitor. The relationship between the girl and the Tramp is simple and sincere. His feelings for her are strong, and he selflessly does whatever he can to help her, often at his own peril. His wish is to find enough money to send her for an operation to cure her blindness. His interactions with her are touching and playful. The manner in which Chaplin eventually discloses the Tramp's true identity to the girl is flawless and emotional.

Given the romantic overtones, even here we are treated to hilarious situations, as the Tramp attempts to earn money to maintain the flower girl's illusion that he is rich. He becomes a street sweeper, cleaning up animal droppings. He becomes involved in a boxing scheme that backfires when the boxer who promised to split the winnings with him leaves town suddenly with the law in hot pursuit. The boxing ring scene is one of the funniest in the movie, and highlights Chaplin's ability to create marvelously choreographed sequences.

The story is well crafted, weaving the subplot with the millionaire skillfully into the main story line. The story and acting are so precise and definitive that very little dialog needs to be projected onto the screen to interrupt the flow of the action. All of the performances are strong, down to the smallest supporting role. The music perfectly accents the different moods, and certain themes repeat throughout. Some of the camera shots are interesting for that period, with Chaplin doing close-ups, then immediately switching to longer shots of the same scene.

Chaplin was writer, director, lead actor and composer for this film. By this time, his hold on his own productions was strong and sometimes tyrannical. Reportedly, he mercilessly berated the actress who played the blind girl simply because she could not hold a flower the way he envisioned it. He also stopped production for weeks because he could not decide upon a way to make the blind girl mistake the Tramp for a rich suitor. In the end, he came up with a brilliant method to do this, and it works beautifully. With all of this, it is interesting to note that Chaplin placed himself last in the list of characters in the film.

In short, this is a beautifully crafted film for its time, with an endearing story and overall "feel good" quality.



Recommended:
Yes

Viewing Format: VHS
Video Occasion: Better than Watching TV