My Review: Battleship Potemkin (8/10)

"There is an uprising!"

Battleship Potemkin is one of the true masterpieces from the silent film era thanks to the innovative editing techniques used by director Sergei Eisenstein. He took the basic principles of continuous editing that D.W. Griffith had used a decade earlier and revolutionized film with his now famous montages. Battleship Potemkin has brilliant montages and by combining these different shots together an entire new meaning emerges. This is one of those rare silent films that not only can be appreciated for the important role it played in the revolution of cinema, but it also happens to be very entertaining on its own. The action scenes were beautifully shot and edited together to stir an even greater emotional impact. Of course, the film isn't without its flaws because being the political film it is (Communist propaganda), its leftist message is heavy handed. The sailors and workers are presented as the saints, while the tsarists are demonized. No matter if you agree or not with the message of the film, there is no denying that this movie is worth watching thanks to Eisenstein's technical achievements and some iconic scenes that continue to influence the way we view cinema today. 

The screenplay commemorating the uprising of 1905 in Russia was written by Nina Agadzhanova. The story focuses on the crew of the Battleship Potemkin who were being treated poorly by their commanders. One of the sailors, Vokulinchuk (Alexander Antonov), decides it's time for them to stand up like the rest of the nation has against this oppressive government. The next day, the crew refuses to eat the rotten meat served for them and begin a protest which leads to a violent riot. The sailors try to ignite the revolution by raising a red flag near their home port, but when Vokulinchuk is violently killed the people of Odessa become outraged. Things get out of control for the Tsar regime who violently kill hundreds of innocent people on the Odessa Steps, which only ignites more indignation from the rest of the protestors. They have reached a point of no return and there is no stopping the revolution now.

The climactic and most memorable action scene takes place during the middle of the film in the Odessa Steps where Eisenstein brilliantly uses rhythmic editing to build the suspense. This scene has become iconic and many directors have payed homage to it. These montages were a perfect fit for propagandistic purposes because they stirred powerful emotions and could easily manipulate the audience. That is why some directors prefer using long takes instead of montages, but there is no denying that Eisenstein's visionary way of directing has influenced cinema today. I appreciated this film very much, but I also enjoyed it and was entertained throughout its short running time. There are also some beautiful shots in Potemkin so a lot of credit has to be given to cinematographer Eduard Tisse. This is a must see film for all the technical achievements involved, and you will be surprised at how well Eisenstein put together those scenes to leave audiences at the edge of their seats.

My Review: Nosferatu (6/10)

"It will cost you sweat and tears, and perhaps... a little blood."

I would probably give this film 5 stars if I were to base it on appreciation for how it influenced many films during the silent era and served as a landmark for the horror genre. F.W. Murnau played a key role in the German Expressionist movement and Nosferatu is one of its greatest examples. This movement went on to influence other great directors such as Orson Welles and Alfred Hitchcock especially in the way they played with shadows and lighting to express the emotions of their characters and enhance the mood of their films. This silent film might have scared audiences in the 20's, but it is really outdated and I struggled to maintain my interest in the story. I have to give it credit for  shaping modern horror films today and also influencing the film noir genre, but no matter how much I appreciate it, Nosferatu was far from entertaining for me. One of my favorite things about this film was Count Orlok's makeup which was really creepy, along with how Murnau used the lighting and played with shadows to build the suspense. Those moments were great, but the story really didn't lead up to much and Orlok got very little screen time. I'd personally recommend watching those brief scenes instead of sitting through the entire film. The film uses a lot of title cards and they leave them on screen for so long you could practically read everything twice. There is no denying this was a masterpiece, but I had a hard time sticking with it.

The screenplay was written by Henrik Galeen, heavily stealing from its source material, Bram Stoker's novel, Dracula. In Nosferatu we are first introduced to a real estate agent named Knock (Alexander Granach) who is sending his associate, Hutter (Gustav von Wagenheim) to Count Orlak's (Max Schreck) castle in Transylvania. Orlak is looking to buy a house in Wisbourg, and Knock is considering selling him the home next to Hutter's.  Hutter realizes this is a great opportunity to make some money so he leaves his wife, Ellen (Greta Schröder), with some friends while he embarks on the long journey. Along the way several people warn him about the strange events that occur at night near Orlak's castle, but he continues on. Once he reaches the castle, he has an awkward conversation with Orlak and when he accidentally cuts his finger he realizes that Orlak is in fact a Nosferatu (vampire). When Orlak sees a picture of Ellen he quickly decides to buy the new home and is shipped to Wisbourg in a coffin. On the way back several crew members of the ship mysteriously die and some sort of plague seems to have reached the city. Hutter and Ellen know what's really going on, but the question is wether or not they can stop this evil creature.

Nosferatu is all about the eerie atmosphere that Murnau managed to create with a very low budget. It turned away from the standard action-adventure and comedy films of the silent era by creating something unique and exploring such emotions as fear and suspense. Most contemporary horror films probably have to credit Murnau for being a landmark film and setting the stage for them. Nosferatu is a gothic stylized film that has influenced the way we view cinema today so we owe Murnau a lot of gratitude for his work. Unfortunately films are subjective and despite my appreciation for this film I did not enjoy it as much as other film lovers. I did like the cast and the editing however, but the pacing of the film was what I had issues with.

My Review: Sherlock Jr (6/10)

"We are lost! He is sending for the world's greatest detective - Sherlock Jr.!"

After watching several of Chaplin's classic films, I decided it was time to give Buster Keaton an opportunity beginning with one of his most revered movies, Sherlock Jr. Keaton and Chaplin dominated the silent movie era, but most people are divisive as to who was the most talented actor-director of that time. So far I'm on Chaplin's side although I still have to give Keaton another shot with The General. Perhaps the problem I had with Sherlock Jr. is that I'm not a big fan of surreal films. I know everyone seems to love this genre, but there are very few surreal movies that work for me. I can see how Buster Keaton garners recognition for his magical work in this film, being one of the first to actually incorporate dream sequences into his movie. Many other films (and especially cartoons) were inspired from several scenes in Sherlock Jr, like the one in which Keaton's character jumps into a movie screen and becomes a character in the movie that is being projected (better known as "the movie within a movie" sequence). There are several action scenes including some spectacular chases that make you wonder how Keaton could have shot them way back in 1924. I was more impressed with this wizard like aspect of Keaton than on his comedic performance. His deadpan expressions were outdone by the gadgets he devised to create such advanced special effects. Despite being bored by the story, I have to give Keaton credit for his inventive and magical sequences.  

At the beginning of this silent film, written by Jean Havez, Joseph Mitchell, and Clyde Bruckman the title card reads: "There is an old proverb which says: Don't try to do two things at once and expect to do justice to both. This is the story of a boy who tried it. While employed as a moving picture operator in a small town theater he was also studying to be a detective." We are then introduced to the projectionist (Buster Keaton) who is reading a detective book instead of cleaning up the theater. After work, he goes to visit his girl (Kathryn McGuire) and buys her a ring. Another man (played by Ward Crane), who is also fighting for the girl's affection happens to be at the house and steals her father's chain watch and incriminates the projectionist. The girl's father (Joe Keaton) kicks him out of his home and tells him never to return again. The projectionist sadly returns to work where he falls asleep and dreams of being a detective in the film that is being projected. In his dreams, he becomes the hero of the film and the adventure begins.

Buster Keaton's film has some brilliant and magical sequences, and I think it is a bit unfair to compare him with Chaplin because he has a very different style. Chaplin has a more humane approach, writes his own stories and composes them as well, while Keaton does some impressive work behind the lens using some trickery. As performers they both have different styles, Chaplin uses a lot of physical comedy while Keaton uses deadpan humor and incorporates a lot of action scenes doing some risky stunts (in the train sequence he actually fractured his neck). Depending on which style you like best, you will probably claim Keaton or Chaplin is better, but it would be unfair to say one is less talented than the other because they both proved to be geniuses during the silent era and have left us with a rich legacy. I can see sparks of both in contemporary film making. Despite not being a fan of this film as much as others I still need to watch Keaton's The General to get a clearer picture of his style.

My Review: The General (8/10)

"If you lose this war don't blame me."

After not quite understanding all the hype with Buster Keaton in Sherlock Jr. I finally got to see it in his masterpiece, The General. This film really worked for me and the action engaged me in a way that I didn't feel worked all that well in his previous movie. I was only able to appreciate the technical aspects of Sherlock Jr. but didn't really care much for the story or the characters, but in The General I was hooked with Keaton's character and the action sequences really drew me into the story. There were some spectacular chases that were thrilling to watch and I was in disbelief that this film was directed nearly 90 years ago because it was beautifully shot and the effects looked believable. There was one scene where a train collapsed on a burning bridge that was gorgeously shot. Keaton not only had a talent for comedy, but he proved to be an action star as well. The General meshes these two genres together in an enriching manner allowing the audience to be laughing one moment and feeling thrilled the next. 

Based on true events that took place during the American Civil War, the screenplay was written by Clyde Bruckman and Buster Keaton. We are first introduced to the main protagonist, Johnny Gray (Buster Keaton) as a Southern railroad engineer. There are two things that he loves in life: his train engine (The General) and Annabelle Lee (Marion Mack). When the Civil War breaks out, Annabelle's father and brother enlist as soldiers for the Confederate army, so Johnny also feels he should do the same. The officials consider he is more useful as an engineer so they don't allow him to enlist. Annabelle believes Johnny is a coward and is lying to her about not being allowed to enlist so she breaks up with him. Johnny continues working as an engineer, but when Union spies steal his beloved train and kidnap Annabelle, who happened to be riding The General that day, he does what is in his power to catch up with the spies and save the two things he loves the most in life. The film thus becomes a thrilling cat and mouse chase across the Southern railroads. 

Buster Keaton proved his unique talents in The General through his comedic performance and physical ability by doing all the stunts on his own. There are several great action scenes in this film and Keaton does some acrobatic stunts proving he deserves to be considered as an action star as well. I had a great time with this film and was completely entertained throughout its 105 minute runtime. It's one of the best films that have combined action with comedy from the silent era, and very few contemporary films do it as well as Keaton did way back in 1926. I'm on board with Keaton acknowledging this is his best film and really can't understand how it was a flop when it came out because The General was genius film making. Now justice has been made and it is considered amongst the best films of the silent era. If you haven't had the chance to see this film, you should because it is a thrill. 

My Review: The Great Dictator (9/10)

"I'm sorry, but I don't want to be an emperor. That's not my business. I don't want to rule or conquer anyone. I should like to help everyone if possible."

That final five minute speech given by Chaplin shows his true genius as a director, actor, and screenwriter. He was capable of understanding better than anyone the social realities he was part of and made one of the best anti-Nazi propaganda films I've seen. Giving his character who had been silent up to that film such an important speech was such a powerful and historical moment in film history. I don't know why I always believed Chaplin was one of those directors that never managed to handle the transition from silent films to talkies very well, because ironically this (his first complete talkie) is my favorite film of his. The way he was able to use his physical comedy with as little dialogue as possible and then add some funny lines was a beautiful touch. He said what he could with his physical performance and then used sound to say what actions couldn't tell wholeheartedly. Chaplin had proved that actions speak louder than words with his Tramp films, but when those words are in tune with actions they can blow you away and that is how I felt with The Great Dictator. In 1940 no one knew about the horrendous crimes the Nazi's were going to commit against the Jews, but Chaplin was warning the world from the beginning how hate and racism could destroy the world. That powerful speech continues to resonate with audiences almost 75 years later and you can add that scene to Chaplin's wonderful legacy in film. There are several other memorable scenes in this two hour film (the longest Chaplin film I've seen, yet probably the one I would be most likely to rewatch), mostly all involving Chaplin's wonderful physical comedy as he makes fun of Hitler. While the entire world seemed to be ignoring Hitler and Mussolini's abuse of power, Chaplin courageously was warning us in the best way he could, through slapstick comedy, about their horrendous racial beliefs and the dehumanization it would lead to. 

The film opens during the First World War where a soldier (Charles Chaplin) who is later introduced as a Jewish barber, is saving the life of a pilot named Schultz (Reginald Gardiner). They escape on a small plane, but eventually they crash and the barber loses his memory. Several years later he is released from the hospital but everything has changed. They lost the war, and Dictator Adenoid Hynke (also played by Charles Chaplin) is now rebuilding the country of Tomania. The Jews in the ghetto are being discriminated and treated poorly by Hynke's soldiers and the barber has no clue as to what is going on. A friendly neighbor named Hannah (Paulette Gardiner) helps him, but there is not much they can do against the soldiers. When he gets into trouble with some of them, the commanding officer arrives and it happens to be Schultz who immediately helps the barber and offers him and the people in his ghetto protection. For a while things look good for them, but when Dictator Hynke discovers Schultz is helping the Jews he sends for his arrest and the Jews suffer persecution once again. Hynke plans to rule the world so his first step is invading Osterlich, the place where Hannah and her family were forced to flee. Things aren't looking good for the Barber and his friends, but keeping his head up and joining forces with Schultz, they are ready to make a stand.

The Great Dictator was truly a delightful and joyous experience. I don't know why I liked it more than his silent films because I really enjoyed all of them, but there was something about The Great Dictator that just hit all the right notes with me. I fell in love with this film and will definitely recommend it as my favorite Chaplin film. I wasn't considering watching his next two talkies, but after the experience I had with The Great Dictator I'm definitely considering watching them. I loved the way Chaplin clearly stated his beliefs in this film, mocking Hitler and his inhumane ideas with a courageous performance considering no one was doing anything to stop him at that time. But it's not just a brave film, it is really funny as well and I found myself laughing throughout many scenes. His physical comedic talents can still be seen in this talkie; one of his most memorable scenes involves a globe dance sequence. Paulette Goddard, who was also in Chaplin's Modern Times, gives yet another sweet performance, and Jack Oakie will forever be remembered for his role as Napaloni, Dictator of Bacteria, which was a clear lampoon on Mussolini. This was one perfectly executed satire that happened to come along at the right moment. Unlike in other politically correct films, Chaplin makes it evident that ridiculing Hitler was his main objective. It is a classic and a must see for film lovers everywhere.

My Review: Modern Times (8/10)

"Buck up - never say die. We'll get along."

I can't think of a more fitting line than that final one from the Tramp to the Gamin to say farewell to silent films as they cheerfully walk towards the horizon. By 1936 everyone was watching talkies and they expected Modern Times to be Chaplin's first one considering his previous film, City Lights, had already incorporated some sound effects five years ago. Modern Times is considered one of Chaplin's finest movies and perhaps a lot of it has to do with the fact that it was his last silent film so it has the nostalgic factor going for it. The way Chaplin incorporates sound in Modern Times is pure genius because the only moments where we hear sound is when they come from mechanical devices, so in a way he blended the social critique of the Industrial age with his own critique of the use of sound in film. This mechanical monster that was taking over his industry was putting an end to the silent era which made him such a popular figure. Chaplin may have stated that his films aren't social critiques, but I don't think anyone managed to capture the human spirit during that era better than he did. During the first hour of this film which I earnestly enjoyed I couldn't quite understand why this film was considered superior to his other films which I enjoyed more. Up to that moment there wasn't really a scene that stood out for me like there had been in all his other features. Then suddenly when I was about to lose hope came the restaurant scene where the Tramp performs a song where we can't understand what he's saying, but through his gestures he makes himself perfectly understood. That was the scene that sold this movie for me and reminded me of Chaplin's genius. The ending in Modern Times is perhaps my favorite ending in all of Chaplin's films, although I still think I would rank City Lights as his best film. 

In his last silent film Charles Chaplin stars as the Tramp once again, and this time we find him working at an assembly line in a factory. The quick working pace and the mechanized movements he has to make slowly begin to affect him. He can't keep up with the pace in the assembly line and production is delayed because of him. During a lunch break he is chosen for experimentation with an automatic feeding machine that they want to sell to the president of the steel corporation. The machine goes haywire and the Tramp also begins to lose his sanity so he is sent to a mental hospital. Eventually he is released but after an unfortunate incident he is mistaken for a communist and imprisoned. In prison he becomes a hero by stopping several prisoners from breaking out of jail so he is released. Unemployed and unable to find a job all he wants is to go back to prison, but when he meets a Gamin (Paulette Goddard) and falls in love with her, he makes it his goal to find a job and buy a house where the two can live happily ever after, but in these modern times it won't be an easy task.

Charlie Chaplin and Paulette Goddard have excellent chemistry together although the film is a little too sentimental at times. In Modern Times, Chaplin manages to once again balance pathos with slapstick, but I found some of the scenarios to be a little too similar to his other films so I felt it was getting a bit repetitive. However, what Chaplin does really well here is include the social elements of the time and use it to his advantage by focusing on the struggle the people had adapting to the modern industrial age. He does this by using satire through his brilliant physical comedy. In an era of dehumanization, Chaplin humanizes Modern Times with a sweet and tender story reminding everyone that the obstacles can be overcome. With every new problem that the Tramp has to face somehow he always finds a way to remain hopeful and rise to the occasion. That is perhaps why his comedies still remain timeless and continues to touch the hearts of those who encounter Chaplin for the first time. They will also understand that dialogue was not always necessary to tell a story, and the best to do so was Chaplin with his unique energy and brilliance.

My Review: The Circus (8/10)

"Time brought many changes to the Circus; new hopes and new ambitions."

The Circus is perhaps one of Chaplin's most under appreciated films considering it was directed after his acclaimed The Gold Rush and before his most critically adored film City Lights. I really don't see why it is considered a lesser film because it has one of the best love stories and in my opinion the best ending as well. I know City Lights' final scene is one of his best, but I think this one fits his character even better. It is hard for me to pick a favorite film from Chaplin since they all have something unique about them, but it doesn't deserve to be considered a lesser work and more people should check this out. There are several stand out scenes in every one of his features and The Circus is no exception. Some of my favorite include the scene where he locks himself in the lion's cage, the scene where he is walking through the tightrope (a physically demanding scene), the scene where he is in the mirror maze, and the final scene where he walks off to the sunset with his unique and cheerful walk. The Circus is a fun and entertaining film with perfect pacing which never drags. The tramp always reminds us that no matter how difficult our circumstances are, we must never lose our hope and we must remain true to ourselves. One moment he can be stealing food from a baby (but he does it in such a sweet and funny way that we don't judge him), and the next he can be sharing a piece of bread with a lonely girl. He might be unfortunate and clumsy, but he has a heart of gold. The Circus captures the essence of the tramp really well and Chaplin balances pathos with slapstick perfectly once again.

In The Circus we follow the Tramp (Charlie Chaplin) who once again is a victim of his circumstance. After a pickpocket (Steve Murphy) steals a wallet, he hides it in the Tramps pants so he isn't discovered. When a police officer realizes that the tramp is carrying the wallet he chases him across a nearby circus. A few clowns are doing their number, but the audience is bored to death until they see the Tramp running all over the place and stumbling across everything while the police officer chases him. He turns into a sensation without realizing it and the Circus Proprietor (Al Ernest Garcia) hires him. He asks the Tramp to do some funny stunts, but he isn't funny so he decides to put him to work as a janitor. The Proprietor realizes that the audiences love the Tramp when he is actually being his clumsy self stumbling all over the place without trying to be funny so he takes advantage of the situation and uses him. The tramp falls in love with the Proprietor's step-daughter, a Circus rider (Merna Kennedy), who is treated poorly by him. But when she falls in love with the tight rope walker (Harry Crocker), the Tramp loses his magic touch. Perhaps if he can do that act, the girl might fall for him, but it is an extremely risky act.

The way Chaplin establishes each of his characters through a simple scene and few dialogue boxes is impressive. He also has an amazing talent to make audiences laugh through comedic acts that we've seen before, but adding his unique personal stamp. What's amazing for me is that each lead actress in his films are different, but they all look so much alike. The love story in The Circus is the one that works best for me and seems more believable. The Circus has a lot of heart. Many complained that The Gold Rush lacked a better ending and in The Circus Chaplin managed to deliver one that captured his essence. It may be far less adventurous, but the love story worked much better. City Lights manages to capture the best elements from both those films: a tender love story, some hilarious scenes, and another great ending so that is why it is considered a superior film, but by no means does The Circus deserve to be neglected like it has been by many.

My Review: The Gold Rush (8/10)

"We must get food. One of us must brave that storm."

The film that Chaplin wanted to be remembered for, The Gold Rush, is his most ambitious and adventurous one. Chaplin takes center stage once again and takes us to the snowy mountains of Alaska. Under extremely harsh conditions the tramp struggles to survive, but he always faces life with his innocent naivety and cheerfulness. The Gold Rush is a simple rags to riches story, but somehow the tramp doesn't let his social condition define who he is. He remains the same quirky character no matter the circumstances he faces. In the midst of all the hilarious moments, Chaplin always manages to send an uplifting message to his audience. He reminds us that no matter how difficult the circumstances we are going through are, if we continue to move forward something good is going to come out of it. The Gold Rush might not be his most critically acclaimed film, but it does have some of his most memorable scenes. Without ever having seen this movie I had already seen several clips like the scene where the tramp is preparing a roasted shoe or the scene in which his friend is starving so much that he imagines the tramp as a chicken and chases him. The scenes that take place in the cabin are all hilarious and have inspired many famous cartoon scenes as well. However his most famous and beloved scene involved the dancing rolls which was played over and over again in the theaters were it was played. Perhaps Chaplin is remembered for his work in Modern Times or City Lights, but the scenes in The Gold Rush have passed the test of time and captivated audiences around the world. The good thing about silent films is that they are universally accepted because actions don't need translations.

The Gold Rush takes place in gorgeous Alaska during 1898 as thousands of prospectors faced the harsh conditions in order to find gold and become millionaires. The tramp, who is known in this film as the lone prospector (Charles Chaplin),  also heads to Alaska on his own dreaming of becoming  wealthy man. After a severe storm hits his area, the tramp locates a small cabin and finds refugee there. But the cabin isn't abandoned, a thief known as Black Larsen (Tom Murray) is hiding there. Before Black Larsen can kick him out of the cabin another large prospector arrives. Big Jim McKay (Mack Swain) uses his size to intimidate Black Larsen and convinces him to allow the three men to stay there until the storm passes. As the days pass the men begin to starve so they decide one of them must face the storm and bring back food. The unlucky fellow isn't the tramp this time as Black Larsen is the chosen one. After a few days the storm passes and the lone prospector decides to head to the nearest gold-rush community where he falls in love with a saloon girl known as Georgia (Georgia Hale) and tries to win her heart.

The best moments of The Gold Rush involve the lone prospector's adventures in the cabin and his misunderstandings with the other large prospectors. The love story however was the weakest link as the girl here really doesn't do anything to deserve the tramp's love. She isn't really likable so I can see how critics at the time were unsatisfied by the ending of this film. The Gold Rush could've been his most critically acclaimed film if it had an ending like City Lights. I think that film gets more recognition because Chaplin learned his lesson and ended that film on a perfect note. There is no discussion however that most of the famous Chaplin scenes come from The Gold Rush. This was Chaplin's longest and most produced film at the time and he succeeds again in blending slapstick with pathos effortlessly. The Gold Rush is a fun adventure with several highlights, but I think a shorter running time for silent films works better. Chaplin still never ceases to lose his charm and his character of the tramp never gets old. I also love the score in all his films, they are just inspiring and uplifting. After watching his third feature film, I must agree that his films are timeless and universal. 

My Review: The Kid (8/10)

"A comedy with a smile--and perhaps a tear"

Charlie Chaplin's first self-produced feature film, The Kid, is a tender and sweet tale that once again manages to balance those emotional moments with a great amount of slapstick comedy. The master of pantomime surprised me here by taking a step out of the spotlight and letting it shine on the young newcomer, Jackie Coogan, who steals every scene he is in. Coogan is extremely cute and he held his own next to Chaplin in the comedic department as well. As the title suggests, the main character in this film is the kid who has given the character of the tramp something to live and fight for. The scene that stands out for me is the one where the social workers show up and try to take away his adopted son from him. That scene is a real tearjerker, but at the same time there are some excellent moments of physical comedy that balance them out. The editing was also very well done giving the action scenes some believable effects as Chaplin runs through the roofs to rescue the kid. I actually watched Chaplin's re-edited 1971 version of The Kid that includes an original score and is 15 minutes shorter than the original, but I really enjoyed it and found it moving.

This silent film written by Chaplin opens with a sobbing unwed mother (Edna Purviance) walking out of a charity hospital with a baby in arms. Along the way she spots a fancy car in front of a mansion and decides to leave the baby hidden in the back seat with a note asking for whoever finds the baby to take care of him. As she walks away a couple of thieves unexpectedly steal the car and once they discover the baby in the back seat they dump him off in an alley. After having second thoughts for what she did, the mother decides to return to the mansion but once she arrives the owners tell her that the car has been stolen. Meanwhile, the tramp (Charlie Chaplin) stumbles across the baby as he is passing by the alley. At first he tries to get rid of him, but eventually he decides to keep the baby and adopts him. Five years have passed and we are now introduced to the tramp and his kid (Jackie Coogan). He is working as a glazier, and business seems to be going well thanks to his kid who helps him out by smashing the neighbor's windows. The child's real mother has become a famous Opera singer and continues to feel haunted for abandoning her son. She does charity work in the same neighborhood where the tramp and the kid live. The tramp and his kid have overcome many obstacles together, but when the boy becomes ill new trouble arises and it could separate the two forever. 

The Kid might be almost a hundred years old, but it is still a fascinating watch. It has a great amount of heart and it feels fresh thanks to the tender and sweet story. Chaplin's films are a delight to watch and there is something powerful in the way he portrays his message without using dialogue. His films are told through action and his physical performance is always impressive. In the Kid, Chaplin has found a great sidekick in Coogan, who makes the film all that more tender. I wasn't a huge fan of the dream sequence which felt a bit out of place, but the rest of the film was really a delight. The Kid is a special film and one that cemented Chaplin's status as the best producer, director, writer, and actor during the silent film era. It also has a touching father and son narrative that despite being simple reaches for the heart. It's a beautiful film with a perfect running time for a silent film.

My Review: City Lights (8/10)

"Tomorrow the birds will sing."

Before Raging Bull or Rocky, Charles Chaplin brought us one of the most memorable boxing scenes in film history. The scene is so well choreographed and performed by Chaplin that it proves what a genius he truly was. It's been more than 80 years since the film was released and it still remains as one of the best romantic comedies ever made. City Lights has a lot of heart, several funny moments, and a perfectly executed final scene that will touch even the hardest hearts. I've seen many famous scenes from Chaplin's work, but this is the first time I sat through a full movie of his. It was a unique and joyous experience despite the fact that I'm not the biggest fan of pantomime and some of the gags run a bit too long. Chaplin was not only a great actor, but he also was an excellent director, writer, and composer. The film is well edited and the technical achievements are surprisingly good. In the midst of the talkie revolution Chaplin decided to remain silent despite adding some amusing sound effects and he proved that powerful stories could be told without dialogue. It's a work of pure genius and a film that all film lovers should experience on their own. City Lights has encouraged me to begin a Chaplin marathon during this week and I think it's going to be a lot of fun to get to know one of cinema's most beloved characters: the tramp.

Charles Chaplin plays the Little Tramp once again in City Lights and this time he meets a blind flower girl (Virginia Cherrill) with whom he falls in love. Without her knowing it, he follows her to her home and discovers she is in financial troubles, so being the selfless little tramp he is he decides to try to help her out. Despite not having any money, the tramp tries to find ways to help her out while she mistakenly believes he is a millionaire. The tramp begins looking for work and even enters a boxing ring in order to make some money to help the girl pay for an operation that will restore her sight back, but he is unsuccessful in most of his endeavors. While searching for a place to rest one night near the city's river he accidentally runs into a millionaire (Harry Myers) who is about to commit suicide. The tramp saves his life and the two get drunk together and become friends. The only problem is that when the millionaire is sober he forgets about his friend so their relationship is on and off depending on the amount of alcohol he has had.

City Lights has a simple premise, but the way Chaplin tells the story is very captivating and heart warming. His physical performance is among the best I've seen and his facial expressions are priceless. There is also an underlying message behind his funny and touching tale and the tramp represents the best side of humanity. The themes of selflessness, kindness, and classism still resonate in our society today. If you weren't won over by the story in general I am sure the ending will touch everyone and the hilarious boxing scene will tickle even the most grumpy hearts. City Lights is a film full of grace and you don't see movies like these made any more. During a troubled time after the Great Depression, Chaplin managed to maintain a sense of humor and bring joy and laughter to an era that was very much in need of it.