Modern Times

One of this movie's most famous images--Chaplin sliding around inside the gears and cogs of a monstrous machine--provides a handy visual to go along with my opinion of the film in general: there are individual cogs that I remember as being brilliant, but when put together they don't make a totally satisfying machine.

Unlike "City Lights" or "The Gold Rush" before, or "The Great Dictator" after, I didn't get caught up in the narrative of "Modern Times," and I felt there were longer gaps between the funny bits. However, some of the set pieces in this are hilarious, most notably the scene where Chaplin finds himself strapped into an automatic feeding machine that goes berserk; and a nimble scene on roller skates that showcases his athleticism.

Sadly, "Modern Times" was an all too applicable metaphor for Chaplin's place in the film industry. New technologies were beginning to make his artistry obsolete, and the sadness of that is palpable in the film's final shot.

I'm recommending "Modern Times" because it's a very good movie. I just didn't think it was as good as some of Chaplin's other well-known projects.

Grade: B+

There is something fundamentally sad about Modern Times, by the very fact that it shows an unparalleled genius making his last move in the now-defunct art form with which he made his name. Charlie Chaplin, undisputed master of silent comedy, had managed to bluff his way through the awkward early days of sound, but by 1936 the talkie had got its act together, and screen comedy was dominated by the witty wordplay of the Marx brothers and the smart sass of screwball. Slapstick had all but lost its market, and the picture is saturated with a feel of "One last time…" A

nd Chaplin expresses his feelings with scathing satire. Modern Times is quite plainly a blast at many aspects of industrialised living, especially unemployment and Fordist production management. However the picture also takes several sly swipes at sound film itself. From the beginning, sound is associated with the mechanical, the authoritative, and the austere, with the few bits of spoken dialogue being via some piece of technology such as a radio or the boss's speaking tube. Sound effects too are reserved for nasty clanking and scraping sounds of machinery and things breaking apart. Finally there is Paulette Godard's pronouncement that "The words don't matter" as Charlie forgets the lyrics for his singing waiter act. Chaplin was of course very good at nonsense voices, as this and his Adenoid Hynkel act in The Great Dictator demonstrate, whereas meaningful verbal comedy was his Achilles Heel.

Despite all this vehemence, Chaplin is making one or two concessions to contemporary cinema. Modern Times features a lot more camera movement and close-ups than we see in his previous pictures, where he tended to stick to static long shots to preserve the best flow of physical comedy. The more technical approach here is always done for a reason – for example whip-panned close-ups are used for emphasis, and there is often a change of angle to punctuate a gag such as the half-built ship slipping out of dock. While they do draw attention to the funniest moments they disrupt the purity of the routine and are most likely concessions made by Chaplin for an audience not used to silent comedy. Modern Times is also much more variable and fast-paced than previous Chaplin features, skipping from factory to prison to department store and so on.

And yet, of all his feature films, Modern Times includes perhaps the most protracted bouts of silent comedy, far more than the story-driven City Lights. Despite its linking plot, the various settings in which the little tramp finds himself each provide fully-fledged slapstick routines, and there are very few moments in which point or poignancy are allowed to overrule the comedy. The picture is in some ways like a compendium of the non-stop gagging two-reelers he was making in the 1910s. Modern Times may not be quite the tearjerker that The Kid or City Lights were, but it is the master's final great showcase of his primary talent.

This mostly silent movie deals with a little man , a disgraced factory worker who goes insane from his repetitious job at an assembly líne . At the same time the exigent boss demands him for greatest efficiency and speed at work . As the unfortunate man moving from hapless factory worker to singing waiter and ultimately triumphing along the way .

An interesting and thought-provoking Chaplin film encompassing the tyranny of Machine over man, this great film has more relevance nowadays than ever. The pic contains a sour denounce on capitalism , industrialization and human explotiation . This is a vintage flick much in the fashion that sound films offended his pantomimist's sensibilities . This is a silent movie , being the only dialogue a song sung by Chaplin in gibberish Italian .Chaplin gives an awesome and sympathetic performance as a labourer who goes crazy and triumphs over adversity , just as Charles the film director proved victorious over sound . Chaplin also composed the score which incorporates the charming tune : Smile. His spouse to be Paulette Goddard is attractive in the femenine lead , playing a poor orphan. Look for a young Gloria de Haven , as one of Paulette Goddard's Sisters . She is the real-life daughter of Chaplin's assistant director .

The motion picture was masterfully directed by Charles Chaplin .This was one of the longest ones to that date . Chaplin previously directed 2 or 3 reel short movies, such as : Our hero, The fireman, Night at the show , The adventurer, The floorwalker, The cure , The inmigrant , The circus , Burlesque on Carmen , among others . After that , he made long feature films such as : The gold Rush , The kid , City lights , The great dictator , Monseur Verdoux , Limelight, A king of New York and his last one : A countess from Hong Kong . Rating 8/10 . Better than average . Well worth watching .

Charlie Chaplin's Modern Times (1936) is the final film to feature the great actor/director/writer's most easily recognizable incarnation: The Tramp. Here is a character that is so ingrained in the collective conscious of modern film audiences that many recognize him despite the fact that they have not seen a single Chaplin film. Indeed, several iconographic studies have labeled The Tramp (with his worn hat, distinctive mustache, dusty suit, cane, and trademark waddle) as the single most identifiable fictional image in history.

Still, the film that perhaps most influenced the creation and thematic realization of Modern Times was not even a silent one. The Jazz Singer, which debuted in 1927, five years before Modern Times began production, is perhaps the most important watershed film in the industry's century-old history. In the film, comic great Al Jolson stands up in front of the audience and...sings. And as Millard Mitchell said in Singin' in the Rain, the public was suddenly in a frenzy for "Talking pictures! Talking pictures!" Sadly, with the advent of synchronized sound and dialogue, the world of silent filmmaking began to slip into obscurity with audiences and studios now viewing it as obsolete and undesirable. Nevertheless, Chaplin continued his passion for the subtle craft by creating City Lights (1931), which many critics and academics consider one of the greatest films ever made, but by the time Modern Times was released, Chaplin was one of the last directors left clinging to a dying art.

Modern Times is not an entirely silent film, (there are dialogue snippets and sound effects), but if you look closely, every character with dialogue (excluding Chaplin himself) is being mocked. Even when The Tramp opens his mouth (the only time he ever did so in a film), the words are nonsensical, defying the burgeoning convention that dialogue is mandatory for substance, entertainment, and quality.

Despite the film's status as one of the greatest comedies of all-time, it is hard to ignore the political component. In his movies, Chaplin often exhibited a great mistrust for authority and progress, as often embodied through the social elite, the police, and wealthy entrepreneurs. The irony of the film's title, then, is two-fold. It connects with Chaplin's own bitter feelings regarding his moribund art form, but also refers to the plight of the working classes during the Great Depression (long working hours with little job security and meager salary, while the upper classes remain wealthy and bide their idle time) The world was changing fast, and Chaplin foresaw that many of these changes were far from beneficial.

As we watch The Tramp struggle through the modern, mechanized world, we laugh at his antics and the absurdity of their results, but we can also feel pain and pity. He is clearly a man who does not belong. Indeed, The Tramp can almost be thought of as a misfit who has passed through a membrane from some alternate reality and unwittingly fallen into our familiar world (notice that he does not have a name or identification of any kind, and as far as we know, he has no friends, family, funds, or history).

He takes on assembly lines, feeding machines, department stores, policemen and various other mass-oriented aspects of the industrialized world (all which demand and exhibit sameness and conformity), but The Tramp (and his symbolic extension, the individual) never seem to fit.

This is, consequently, why Modern Times is also one of the most poignant love stories ever put on film. The only character who is on the same level as The Tramp is a young, homeless woman who is referred to as "The Gamin" and is played by Chaplin's then-wife, Paulette Goddard. These two are brought together by the fact they have almost nothing except the will to live and continue forward, despite adversity. Both are nameless, neither has a home, and they each have no money or material possessions.

It is here that Chaplin makes his most poignant and saddening statement about modern living. The Tramp and The Gamin are the only characters who exhibit individuality and idealism, yet they are also the ones lowest on the social and economic food chain. The conclusion of the film, which most likely reflects upon Chaplin's own emotions, is tinged with sadness, but also a lingering hopefulness that resonates as loudly and clearly today as it did more than sixty years ago.

Then there is, of course, the comedy, which is the stuff of legendary status. Some of the most memorable comic images in film history are found in Modern Times. These include The Tramp's bout with an assembly line (and his resulting twitches), his unfortunate encounter with "nose-powder", the moment when he quite literally becomes a cog in the wheels of industry, and his epic struggle to bring roast duck to an angry customer.

In my opinion, however, the two standout moments are the scene in a department store involving a blindfold and some rollerskates (the most exquisite moment of comedy in the film) and the sequence where The Tramp is submitted to the mad whim of an out-of-control feeding machine (the most uproarious moment in the film).

These are just a handful of moments that make Modern Times the enduring masterpiece that it is. On a personal level, the aspect of the film that resonates strongest with me is its appeal to the idealistic misfit in all of us. In our hearts, many of us long for the simplicity and exuberance with which The Tramp and The Gamin live life (with attention to the bare essentials and an absence of need for materialism and modern trappings).

As Chaplin so skillfully shows, however, our modern times make this lifestyle a faded dream, lost among the sheep-like herds of men and women scurrying through a modern metropolis that only Fritz Lang could make seem darker and more devoid of true humanity. Still, the final image of Modern Times refuses to let the film end on an exclusively tragic note and demonstrates that the individual is still alive and may yet find his way in an ever-changing world.

... as I find it to be the combination of the most relatable and the funniest of his films.

Normally I start these reviews with a short synopsis of the plot with a few personal observations, but it's hard to do that in this case without it turning into a bunch of "And then's". I've read that Chaplin had the general idea of what kind of film he wanted to make in this case, and came up with the specific skits and gags he wanted, and then built a specific plot around it. It was unusual for Chaplin to put any of the women in his life into his films, at least while they WERE the women in his life, and it was also unusual for them to get away without having at least one child by him. Paulette Goddard managed to do both. So Goddard is "a gamin" - a street urchin, also known as Ellen. Chaplin is just "the tramp" character that he normally is.

At first, the tramp is all alone facing these "modern times" of the 1930s - a dehumanizing factory job that causes a breakdown, then he's falsely labeled as a Communist leader and instigator and jailed, and when released he finds himself looking for work among the many millions of unemployed during the Great Depression. His fate joins with Ellen when she is caught stealing a loaf of bread and he takes the blame for it to spare her from jail. When they both escape - they are both arrested for the thievery - they join forces and try to find happiness around the edges of society, finding jobs when they can.

This is Chaplin's last silent film, but it really is more of a mute sound film than a true silent. The factory boss speaks - "Get back to work!" and Chaplin himself sings the gibberish song towards the end of the film - the first time his voice had ever been heard on film. You can also hear the crowd noise in the cafe when Chaplin sings.

This film has lots of blatant anti-capitalist themes, based on Chaplin's long held beliefs and observations from a childhood rife with poverty, as well as the contrast of the America he found when he returned after being abroad for a good long time versus the one he left, before the Great Depression had taken hold. Had he not been playing his Little Tramp character while making all of these statements with his art, the film might not have been passed by the censors.