If TikTok existed in the silent film era, editors would’ve had a field day with Charlie Chaplin — he was the first Hollywood it-boy, after all. The multihyphenate found global success and irreparably changed the film industry with his trademark slapstick comedy, but I doubt most are watching his filmography today outside of a lecture class. Chaplin’s classic “The Gold Rush” will be re-released in theaters for its 100th anniversary this summer, so now feels as good a time as ever to study up on the filmmaker.
Chaplin wrote, produced, directed, composed and starred in the 1931 film “City Lights,” which is widely regarded as one of his best works. The release of “City Lights” was a few years into the talkie era but is a silent film — a testament to Chaplin’s confidence in physical comedy as a universal language. With an easy-to-follow plot, it’s perfect for newbies to silent film: His famous character, the Tramp, pursues a blind flower girl (Virginia Cherrill), who mistakes him for being wealthy.
The Tramp is the beating heart of Chaplin’s film, oozing with charm in every scene. Donning his signature baggy pants, bowler hat and cane, the Tramp is characterized by his unwavering and endearing optimism. He’s a hopeless romantic, clutching his chest when overcome with affection and sheepishly trailing his love to admire her from afar. Upon discovering the chance of restoring the flower girl’s sight through surgery, the Tramp throws himself into zany pursuits for money to swoop in and save the day. Chaplin takes full advantage of the Tramp’s peculiarities in these scenes, especially in a boxing match filled with his clownish, impulsive movements.
While the audience falls in love with the Tramp, he’s resented by the wealthy who surround him. Much like the rest of Chaplin’s filmography, class conflict drives “City Lights,” where the rich are just as blind as the flower girl. The Tramp is incapable of fitting into high society — he cuts his spaghetti with a knife, fails miserably to smoke cigars and sticks out like a sore thumb in a ballroom. He appears to win sympathy from a drunk millionaire after saving his life, but the approval wears off as soon as he sobers up. As the Tramp infiltrates upper-class life, Chaplin cleverly takes advantage of sound to satirize the standoffishness of those within it, replacing dialogue with shrill piccolos or brassy trombones.
It isn’t until the end of “City Lights” that we see the Tramp’s tenacity and optimism pay off. After countless misunderstandings and run-ins with the law, he finds himself face-to-face with the flower girl again. Although she’s never seen the face of her wealthy benefactor, she instantly recognizes the feel of his hand. It’s a moment with very few intertitles — after all, some moments, or films, evade the need for words.
“You can see now?” the Tramp asks.
“Yes, I can see now.”
Contact Dani Biondi at [email protected].
