A tramp in a land of illusions: he is first captured by them, in the hall of mirrors, and then adopts them until they unravel in spectacular fashion. The same acts, the same jokes, multiplied in different ways. And yet, Chaplin always comes back around: a tramp will always be a tramp.
Chaplin's best full on comedy, and his most overlooked film from his peak. Its a shame that it comes between two masterpieces so I think it gets unfairly compared to the two, when this is more in my opinion, an homage to his old Keystone days. Either way, one of his best features. Looking forward to the eventual Criterion of this. 4.5 stars
Chaplin does some theory of comedy and showmanship / spectatorship. He arrives at these undisputable truths: 1. Comedy does not only rely on the physical performance and it needs a character that is unaware of or surpassed by the events. 2. Audiences are essentially cruel. 3. Everything is funnier with monkeys. Also, brave and wise ending.
A visual and tact power experience with the highest level of entertainment where love and contempt appear in the most uncommon place, when most of time clowns and acrobats fake real amusement just to make a living: the circus. I see now where Woody Allen took is creativity for his sequence on depersonalization in "Annie Hall".
Siempre reír a través de un vagabundo que nos va enseñando de la vida, que en el silencio se encuentra el discurso mas notorio de que somos físicamente de células y emocionalmente de tiempo, gracias maestro Charles Spencer Chaplin por lo que nos has dejado, felicidades por tu nacimiento 125 y mucha gratitud de mi parte por enseñarme a ser fuerte, a reír y aprender a dejar nuestra memoria en el celuloide.
3 1/2 out of 5. Standard (truly hilarious) Chaplin fare that's not HIS best work, but still blows 90% of what's come down the line in the last 85 years out of the water. And there's always that end, that end that gets you regardless of how you felt about the rest of the movie.
Tramp (Charlie Chaplin) wanders into circus, falls for pretty young rider (Merna Kennedy), loses her to handsome tight rope walker (Harry Crocker). While not among his iconic work, Chaplin's final film of the silent era contains some memorable gags (stealing food from baby, hall of mirrors, masquerading as sideshow dummy) & a typically heart-breaking conclusion. Score was added for the 1969 re-release. (9/25/11 TCM)
Not Chaplin's best film but seeing it on the big screen was thrilling. The meditations on what it means to be funny are incredibly ambitious and something else this film has has going for it is its impressive ensemble cast(I'm a Keaton fan but that's one area where Chaplin has the edge). And while not his best film it features perhaps his very best ending. A minor masterpiece but a masterpiece all the same.