Review by Michael Jacobson
Charlie Chaplin, Virginia Cherrill, Harry Myers, Allan Garcia, Florence
Director: Charlie Chaplin
Audio: Dolby Digital 5.1, Dolby Mono
Video: Standard 1.33:1
Studio: Warner Bros.
Features: See Review
Length: 87 Minutes
Release Date: March 2, 2004
City Lights is
one of the greatest films ever made, and is perhaps the quintessential Charlie
Chaplin. It is uproariously funny
and poignantly heartbreaking. It is
a beautifully realized masterpiece of visual storytelling that seems to
effortlessly encompass the broad range of humor and emotion.
The ending, which is one of the most famous in film history, was called
by legendary critic James Agee as “the high point of movies”.
Chaplin, who’s Little Tramp character has remained on of
the most recognizable American icons, created this silent classic some four
years after the advent of the talking picture, and in fact, one additional one a
few years later, Modern Times.
He had created a character who expressed himself beautifully without
words…in fact, this film has surprisingly few title cards representing
dialogue. It was perhaps a
testament to his popularity that audiences still flocked to see his pictures in
an era when the silent movie was quickly becoming old hat.
The silent character suited Chaplin’s directorial style
as well. I can think of very few
directors who seemed so completely at ease in telling his story in almost strict
visual terms. We always understand
his characters by their actions and demeanor, and the adventures or crises they
find themselves in. He relays the
emotion through a few simple acts of pantomime, a few visual symbols, or a
carefully placed dissolve or iris effect. A
few frames of a Chaplin film could speak as many volumes as an hour of frantic
City Lights is
elegant in its simplicity. A poor,
homeless tramp (Chaplin) falls in love with a beautiful, kind, sightless flower
girl (Cherrill). Everyone else the
tramp encounters reacts to his ragged clothes, silly walk, and obvious low
station in life. The blind girl,
however, does not judge the tramp based on his appearance.
The two become friends. Because
of a few chance circumstances, she believes the tramp is actually a rich
man…and though she doesn’t care about money, the tramp tries to maintain the
image for her as best as he can.
The side story involves his on again, off again friendship
with a drunken millionaire (Myers). Under
the influence, he takes the tramp out to light up the down, but when sober, he
doesn’t remember a thing, including why this tramp keeps showing up in his
house. Their antics together are
memorable and hysterical, from the tramp attempting to prevent the drunk’s
suicide only to end up the one in the river with the rock tied around his neck,
or the dinner engagement that plays like a dance, as the two intoxicated men
constantly take off their jackets to fight an imagined enemy.
Or the party at the fellow’s mansion, where the tramp swallows a
whistle and becomes a boon to everyone’s enjoyment, except for the dogs.
As the story progresses, the blind girl has an opportunity
to have a sight restoring operation, and the tramp does everything he can to
come up with the money to help her. He
agrees to a boxing match at a local club, but ends up in the ring with a big
bruiser of a man. This is one of
Chaplin’s most famous bits, in a comedic sequence that’s almost balletic in
form—he dances around keeping the referee between himself and his
opponent—delightfully funny stuff. Too
bad it doesn’t work out for the tramp.
He eventually gets some money from his drunken rich friend,
only to be accused of stealing it later during his stretch of sobriety.
In a beautifully constructed scene, he hands over the money to the girl,
prudently keeping the last bill for himself.
She gratefully kisses his hand, and he nonchalantly pulls the last bill
back out of his pocket and hands it to her.
He tells her he has to go away for a little while, and says his goodbye.
Outside, he’s arrested for the theft.
Some two years pass, and the tramp is back out on the
street. He’s more ragged than
ever, and joyless, sauntering along slowly with his head down to the taunts and
sneers of those around him. The
girl is no longer blind, and running a flower shop, still hoping some day the
rich man will show up so she can thank him.
When the tramp passes by, he recognizes her.
She doesn’t know who he is, but feels sorry for him, and cheerfully
comes out to bring him a flower and a coin.
She touches his hand, and…in a beautiful, lingering moment, a quiet
recognition comes across her face. “You?”
she asks. He nods. “You
can see now?” he asks, rather shyly. “Yes,
I can see now,” she answers. She
takes his hand in hers in a mix of half laughter, half tears.
The end. If there was ever a
more beautiful moment captured on film, I have yet to see it.
My clumsy description, and indeed, the descriptions of countless other
critics who have written about the film over the years, could never fully
prepare you for the true emotion Chaplin captures in those moments.
Only the hardest hearts will be able to suppress the tears.
I’m happy this film has made it to DVD, especially for
anyone out there who may not have had the privilege of seeing a Chaplin feature
beginning to end. This is the film
you’d want to start with. It is
funny, touching, and magical in an almost effortless way, and is the apex of a
true cinematic genius’ amazing career.
I used to think the old CBS/Fox presentations of these
Chaplin classics were excellent, but Warner's re-releases continue to surpass
them. Despite being some 70 years old, this is a remarkable looking
print, cleaned up wonderfully for this DVD.
Yes, there are occasional
bits of scratching and scarring noticeable, but not nearly what you’d expect.
The black and white photography renders beautifully, with no grain or
compression evident. These titles are some of the best looking silents available
You have your choice of the original mono 1931 recording of Chaplin’s score, or the newly remixed stereo version, which sounds terrific, and is exactly faithful to the original recording. I prefer the newer version myself: it sounds clearer, more dynamic, and enhanced the overall experience without taking too many liberties.
Features ** **
This double disc set is packed with extras, including:
Introduction by David Robinson - Chaplin's
biographer discusses the historical and cinematic context of the film.
Chaplin Today: City Lights - Documentary by Serge Bromberg with the participation of the animation artist and director Peter Lord.
Outtake - Charlie tries to disengage a sliver of wood stuck in a sidewalk grating.
The Champion 1915 Excerpt - Charlie stages a balletic boxing match, 15 year before City Lights.
Shooting - On the set of the famous scene in which Charlie and the flower girl first meet, filmed by Ralph Barton.
Georgia Hale Screen Test - The Screen test made by the actress of The Gold Rush when Chaplin thought of replacing Virginia Cherrill as the flower girl.
The Dream Prince - A discarded idea for how the flower girl imagines her benefactor.
Rehearsal - Chaplin works out the staging of a complicated scene.
Chaplin and Boxing Stars - Chaplin playfully boxes with professional prizefighters visiting his studios.
Winston Churchill's Visit - Britain's future prime minister visits Chaplin during the shooting of City Lights
Chaplin Speaks! - In 1931 Vienna during his triumphant European tour, Chaplin speaks for the first time on film.
Trip to Bali - Footage Shot when Charlie and Sydney Chaplin visited Bali in 1932.
Also included is a photo gallery, posters, and a trailer.
City Lights is the greatest film from one of the cinema’s most endearing, influential geniuses. Enough said. This beautiful double disc offering is unquestionably a must-own.