City Lights (1931, dir. Charles Chaplin)

With the coming of sound to cinema, Charlie Chaplin's 1931 masterpiece, "City Lights" was one last chance for the world-famous actor/director to bring forth a cinematic experience that would exploit the dying art of silent comedy.  What we have here is a genuine, classic work of art:  a buoyant, effervescent, comedic tour-de-force that would be the culmination of all of Chaplin's previous output plus a little extra magic to catapult this film into the realms of cinematic splendor.  It contains unforgettable scenes and brilliant performances from Chaplin as the iconic Little Tramp and Virginia Cherrill as The Blind Girl. 


I watched "City Lights" on the Criterion Blu-ray edition and the restoration and clarity of the print promotes its timeless quality even more.  The extras, including the engaging commentary by a film historian, behind-the-scenes footage and interviews with film critics somewhat dispel the mysterious aura surrounding the film's painstaking production.


The most talked about scene of the film and perhaps one of the most famous in cinematic history is the end when the now-seeing former blind girl realizes that the man who had helped her so much and given her the money for the sight-restoring operation is, in fact, the tramp.  We get the famous close-up of Charlie's face, filled with euphoric happiness as he realizes that he may actually be accepted for what he is and true love might prevail.


My favorite scene is the boxing match where intricate footwork and brilliant choreography result in one of the funniest moments in the film when Charlie, his opponent and referee seemingly waltz around the boxing ring in perfect coordination.


"City Lights" was released in the early days of the depression and offered down-on-their-luck movie-goers a chance to escape from their humdrum existences.  Not only was the film an escape but it portrayed a scathing critique and commentary on the contemporary times:  Chaplin's tramp represented and encapsulated the viewer's outlook in many ways.  His poverty was the poverty of civilization.  The fact that he could remain positive, ever-hopeful and (like his love interest in the film) blind to his own dour circumstances served as a model for average citizens to emulate.  The Tramp was a hero and in comparison to today's films where super-hero's are nothing more than stereotype personalities, Chaplin's character, even today, remains a breath of fresh air.