A tramp falls in love with a beautiful blind girl. Her family is in financial trouble. The tramp's on-and-off friendship with a wealthy man allows him to be the girl's benefactor and suitor. Written by
John J. Magee <firstname.lastname@example.org>
Charles Chaplin re-shot the scene in which the Little Tramp buys a flower from the blind flower-girl 342 times, as he could not find a satisfactory way of showing that the blind flower-girl thought that the mute tramp was wealthy. See more »
(at around 1h 13 mins) When the Tramp tries to place a gun in the desk top table, the Millionaire is lying back on the sofa. The next shot, he is sitting upright. See more »
Film has become a medium that is strongly influenced by nostalgia. Old films have become journeys to the past; ways to visit times and people that no longer are. Since film is an art that is based on the innovation of previous works, it has an element of nostalgia in its foundation. We look on the old to find what elements should make up the new. In City Lights, and other silent works of film, a passion emerges that is uniquely honest and sincere. While watching the film, I was impressed that Chaplin really did love the story, the sets, the crew; the whole project. While this may not have been the complete reality, it felt that way, and thus made the film more enjoyable. In silent films the audience is forced to be completely reliable on the visual elements of the film; there are no elaborate sound effects or dialogue to provoke an emotional response.
Since film is at its very core a visual medium, I find silent films to be the basic form of the medium. I don't use the word basic here in a demeaning sense, but I compare the beauty of silent films to the beauty of early European art, before the concept of perspective was developed in the Renaissance. Many books and tomes featured people as tall as the castles they stood in; these works of art were not technologically advanced, but they were, and are, beautiful. The same example is found when comparing early darreographs of wild animals to contemporary photographs found in National Geographic. There is a warmth found in City Lights, and other Chaplin films (The Kid, Modern Times) that would be lost in the sea of cinematic technology that floods films today. Maybe it's just that with simplicity comes honesty, and honesty is perhaps the most powerful emotion that can cross through the screen and be felt by the viewer.
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