Review of City Lights (2014) by Lyzette G — 17 Apr 2011

In most cases, actions speak louder than words. So it is true in the case of Charlie Chaplin's City Lights. His previous film, The Circus (1928), was his last film before the movie industry began to embrace the rise of sound pictures. Thanks to Chaplin's co-ownership of the United Artists production company, he could compose this film with as much freedom as he wished; thus, he went through with his plans to make this a silent film.

A homeless Tramp finds himself enamored by a Flower Girl, who also happens to be blind. At around the same time, he befriends a drunken Millionaire. He helps the Tramp pretend to be a rich man, in order to impress the Flower Girl, who cannot see his dirty, tattered appearance. However, the Millionaire only remembers the Tramp when he is inebriated; thus, many problems, mostly humorous, eventually arise from this. Now, given the plot summary and nothing else, would it have been obvious that this was a black & white silent Chaplin film from the early 1930's? Probably not.

Now, it would not be completely correct to state that this film is a "true" silent film. Though the dialogue is still presented in the form of title cards, this was his first film that included a synchronized musical score. This is most prominently expressed in the "La Violetera" number, a sorrowful, beautiful tune that would play upon the Tramp's meetings with the Flower Girl. Also, certain sound effects are used (horns, bells, gunshots, etc.) are used, most frequently as a way to present the humor of the film in a more "three-dimensional" demeanor.

The humor of the film, by the way, is another aspect which makes the film so great. Charlie Chaplin is, arguably, the greatest slapstick comedian in all of cinema, and City Lights presents this point this so well. One scene in particular involves the Tramp entered into a boxing match in order to raise money for the Flower Girl. Not surprisingly, things don't go completely as planned, and the results are hilarious. This is just one example of the numerous sequences where the Tramp narrowly escapes sticky situations, usually brought about by the Millionaire. The Tramp, though good-intentioned, seems to have his plans foiled by the Millionaire's short-term memory; this cleverly keeps us on our toes.

As far as his movies are concerned, Chaplin is famous for two prominent qualities: his prevailing sense of humor (which I have just described) and the sweet emotional qualities presented in the narrative. This is Chaplin's method of truly connecting with the audience, and it could not have been presented any more perfectly than it is in City Lights. The Tramp would do anything to win the love of the Flower Girl, though he feels as if his personal condition could negatively affect her feelings for him; thus, he offers to pay for her rent and an eye operation, then goes through hell and back to come up with the money for his promises. He risks the possibility of the Flower Girl falling out of love with the Tramp for his physicality - yet he loves her far too much to care otherwise. This, my friends, is what I call a true gentlemen.

I don't want to give anything else away, but I must say that this is one of the most sweetest, charming films that have ever seen, from any era of cinema. The parallels between the Tramp's romantic relationship with the Flower Girl, and the turbulent encounters with the Millionaire, make for a truly entertaining, classic film that is never boring. Chaplin's knack at this sort of filmmaking completely proves that dialogue is not necessary in the creation of a beautiful, impressive masterpiece.

"Yes, I can see now.".