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>
Even though he had great confidence in the film, Charles Chaplin still couldn't help but worry that he would be seen as old-fashioned for making a silent picture. Now 40 years old, The Little Tramp, who had been one of the world's top box office stars for over a decade, could feel the public's interest in his career slowly waning, and it bothered him. "In the past my work had usually stimulated interest among producers," he said in his 1964 autobiography. "But now they were too preoccupied with the success of the talkies, and as time went on I began to feel outside of things; I guess I had been spoiled." See more »
Some of Charlie's curls are darker than the others, caused by Chaplin applying dark hair dye on his gray curls, a luxury a tramp like Charlie could hardly afford. See more »
In 1989, Roy Export Company Establishment copyrighted a version with new opening credits, and with Chaplin's score musically directed by and conducted by . The original opening credit of as the musical director was replaced by "musical direction by ." In addition, end credits were added listing those filmmakers and companies involved in the new recording of Chaplin's score in 1988. See more »
This is my favorite Chaplin film, but I don't want that to diminish his other work, either. MODERN TIMES was an outstanding work of social satire, THE GOLD RUSH was great slapstick, and even the largely-neglected MONSIEUR VERDOUX strikes a certain unforgettable tone. Chaplin didn't make a bad movie, and I'm not even sure that CL is his best, exactly. But it IS my favorite, if only for the ending.
That ending has been the subject of much comment here. I think it's a masterpiece in a single scene. Chaplin's little tramp has never seemed less like a character and more like a living, breathing human being. It's a monument to understated sentimentality.
To me, the rest of the film exists largely to set the context for that one magnificent piece of celluloid. Yes, the boxing scene is great, and the scene where he rescues the millionaire is also wonderful, but it's that ending that makes us all love this movie.
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