70/100 (Abd yapımı 1965 öncesi toplam 10 tane filan doğal ve gerçekçi film var. Maalesef. Geri kalan hepsi Hollywood'un itelemesi. Bu filmi de 5 sene önce filan izleyip çok etkilenmiştim. Çok fazla mantıklı düşünemiyordum. Dün tekrar izledim. Hata yaptığımı anladım. Sırf ilkleri yaşattığı için ve son sahnesi için 70. O adamın sarhoşken farklı, normalken farklı davranması gibi bir saçmalık olan film için fazla puan.)
The least humorous of all of Chaplain's film's but also his most tender and emotional. This is a sweet romance with a lot to say about the nature of poverty that still has relevance today. It drags in spots, and can get a bit too pushy with it's message, but overall it's quite enjoyable. The notoriously perfectionist director hammered out every kink until he created a flawlessly shot, flawlessly acted picture.
Wow, my first Chaplin film! The final gasp of the silent film age it's a good thing that without even title cards needed you can show this to anyone on the planet with no need to worry about what language they speak. What impresses me is how Chaplin can take a gag and then just keeping working with it over and over from different angles. But the final scene essentially shows the tramp in comedy and poetry form.
A quite overlong addition to the romantic-comedy/gag-comedy style. Despite this silent film still conveying its narrative these genres/audio doesn't ring true. Chaplin may have been a supreme physical actor, but it's odd why the 'megastar' made a dull script silent, as talkies in the cinema were becoming, and City Lights could've had actual depth. It's just a bad game of charades.
There is technical brilliance in Chaplin but what generates magic is how unconscious we can be of this while viewing. Rewatching scenes out context I was struck by how certain scenes wouldn't at all work with an edit, which might be called synthesis. The comedic and romantic scenes always work in service of one another. But while watching it's poetry - no eye on the technique at all.
Extremely important film and charming in many many ways: From the beautifully lit sets, the great gags in the most memorable boxing match of all time, the deep, yet tacit, philsophical acumen in the attempted suicide scene, the eyes of Virginia Cherrill and the 'eyes' of humanity, so truthfully and clearly evoked by the story. Genuinely poetic and extremely moving, one of the best films on 'giving'.
Just beautiful and expertly crafted silent comedy. Every nuance perfected. Many classic moments, from the attempted drowning scene, drunken ballroom scene, boxing match,... Im not one to fawn over Chaplin much, but one can't argue this is his masterpiece, just slightly better than Gold Rush. The end imo was weak compared to the rest, but I can overlook it. Makes the rest of the film seem that much more perfect.
A lot of reviewers on here seem to be addressing this film with the caveat that this film is great, but not necessarily as great as 'Modern Times' or 'The Great Dictator'. And I think that's an agreeable sentiment for the fact that Chaplin doesn't mine this setup for meaning as much as he's done others. It's still really tight and funny, and the ending is emotionally fulfilling, but its armor is chinked.