🎦 City Lights full movie HD download (Charles Chaplin) - Drama, Romance, Comedy. 🎬
City Lights
Year:
1931
Country:
USA
Genre:
Drama, Romance, Comedy
IMDB rating:
8.5
Director:
Charles Chaplin
Virginia Cherrill as A Blind Girl
Florence Lee as The Blind Girl's Grandmother
Harry Myers as An Eccentric Millionaire
Al Ernest Garcia as The Eccentric Millionaire's Butler (as Allan Garcia)
Hank Mann as A Prizefighter
Storyline: 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.
Type Resolution File Size Codec Bitrate Format
HQ DVD-rip 720x480 px 1180 Mb mpeg4 1753 Kbps avi Download
DVD-rip 576x416 px 701 Mb h264 1184 Kbps avi Download
Reviews
City Lights
Sound was quickly taking over the film industry, and there was a lot of worry as to whether the star of such great silent classics like The Gold Rush and Modern Times could still make people sit through it, of course the answer was yes. Basically the Tramp (Sir Charlie Chaplin, also directing), broke and homeless, stops a drunk and Eccentric Millionaire (Harry Myers) committing suicide, and they become friends, well, at least until he sobers up. The two of them go drinking and partying together, the Millionaire even gives the Tramp his Rolls Royce, and one day walking the streets he meets a poor blind Flower Girl (Virginia Cherrill), and she believes him to be a millionaire, so he just goes along with this. To earn some money and help out his new love interest pay her overdue rent money, or face eviction from her apartment, the Tramp gets a job sweeping the streets, which he quickly loses. He is then approached by a man who offers him a high sum if he can beat another man in a boxing match, which of course the Tramp fails to win, and it looks like the poor Girl is to be evicted. However, the Tramp meets up with the Millionaire who cheerfully gives him a $1000, which can pay for both the rent, and an advertised eye operation for the Girl to gain her sight back. He is accused of stealing this money from the Millionaire and goes to jail, and months later when he released he searches for the Girl, who is looking for the Millioanire who has been so good to her. In the end the pair find each other, the Girl with her eye sight restored runs a flower shop with her Grandmother (Florence Lee), and seeing him she knows the Tramp isn't rich, but it doesn't matter, it is a happy ending as they both hold back tears. Also starring Allan 'Al' Ernest Garcia as the Butler and Hank Mann as A Prizefighter. Chaplin is still wonderful as the lovable Tramp with his slapstick comedy moments, great facial expressions and the famous waddle walk, and Cherrill makes a marvellous love interest. It is a beautifully told story with both very funny moments, but also surprisingly emotional scenes involving the tragic blindness using depths of pathos, a magnificent silent comedy romance. Sir Charlie Chaplin was number 50 on The 100 Greatest Movie Stars, he was number 24 on The 50 Greatest British Actors, he was number 10 on 100 Years, 100 Stars - Men, he was number 38 on The World's Greatest Actor, and he was number 67 on The 100 Greatest Pop Culture Icons, the film was number 76 on 100 Years, 100 Movies, it was number 38 on 100 Years, 100 Laughs, and it was number 10 on 100 Years, 100 Passions. Very good!
2010-11-21
Seeing and Being Seen
Spoilers herein.

For me, this film falls not into the category of favorite films (I'm a Marx brothers kind of guy) but earns instead a place on a very short list of most important movies.

That's because it has two features that I truly appreciate.

It is as pure a vision of its creator as is possible. Nearly all other films are engineered from prior work. Not so with a small list of projects from Welles, Kurosawa, Eisenstein, ... and this one project of Chaplin's. They are wholly original, springing from some nether world.

But the other element is the one that impresses the most. This film is about itself, about the art of visual narrative. Chaplin was intelligent enough to know that what he was doing was new. The issues are centered on what the audience `sees,' so while he struggles with what and how the audience sees, he builds that into the fabric of the story.

The primary framing is about the blind girl who falls in love with him by `seeing' him in her own way. Then `sees' him at the end in a different way. The rich man recognizes the tramp when drunk but does not when he is not. Nearly all the jokes, indeed every element of the film is about this same dynamic: the elevator which is not seen but then was, the burglars the same, the Tramp on the statue, on the barrel. Even seeing the cigar before the bum does. Even us seeing the soap and the foreman not.

The `seeing' is carried over to `hearing' with the politician and whistle jokes. And then even further as Charlie turns his back on the new technology of giving us speech and instead `shows' us something else: he writes and conducts an amazing score instead. This is truly amazing (and one reason to take Mike Figgis seriously).

No wonder Orson Welles considered this the most important film ever made. But as to the best to watch? Because film is so derivative, my own gold standard for the Tramp is Robert Downey's (and to some extent Depp's). Comic timing is something that evolves, and those men make a more effective Tramp for my modern ability to see.

Trivia: Chaplin found the `blind' girl in a group of spectators at a fight and was struck with how her expressions reflected what she saw. She's pretty as well of course, but certainly not the prettiest Chaplin knew. See how Chaplin separately works in both the fight (a performance) and her reaction to his performance in the film.
2002-04-30
Sublime Chaplin Masterpiece
Chaplin was a unique presence in the history of the early cinema. Coming up through the ranks, he gradually achieved a god-like stature, being awarded total control of every facet of the production.

Not only was he often the sole person who knew what the end product was to be (as in "The Kid") but he was also allowed to elaborately improvise in the creative process. This often meant doing countless scores of retakes over days, weeks and even months; holding up the cast and crew for days while he brooded over just what to do next; and even (in the case of "The Gold Rush") cancelling expensive weeks of location shooting and returning to the studio to start all over again.

He cleverly duped chief studio- and bank chiefs into somehow going along with his free-wheeling and gross inclinations, thus mesmerizing their conservative senses into supporting his hit-and-miss schemes and trial-and-error "madness."

In other words, Chaplin used the entire productional company as merely as his paintbrush, with which he toyed at his pleasure to create his personal canvases. Fortunately, he was a genius, and at the right place in time to be allowed to get away with such unprecedented extravagence.

It was a young and growing industry when Chaplin began emerging, and there were no set rules. People were still trying to figure out just what could be done with the medium -- and Chaplin helped to establish its early parameters.

He was certainly and autocrat, yet that doesn't really matter when it comes to film works. It's the product that counts. In the case of "City Lights," all the blood-sweat-and-tears that it took to achieve the finished product was more than worth the effort.

Now that all the frustration, anger, and outrage associated with the behind-the-scenes unfoldment of this highly troubled production are well in the past, what remains is a genuinely moving film classic.

Sometimes great enterprises require considerable hardship to forge them into being. The greater the achievement, often the greater the challenge and period of endurance. Whatever the case, we are the appreciative recipients of this masterwork, which takes its place besides "Modern Times" and "The Gold Rush" as one of Chaplin's consummate expressions.
2001-01-20
A Jewel in the Crown of Silent Cinema
The transition from silent film to sound is undoubtedly the most significant change to affect the cinematic medium. The commercial success of 1927's THE JAZZ SINGER, the first mainstream film to feature talking segments, prompted other studios to either add sound segments to already existing silent films, or create full-length "talkies." The public eagerly embraced this new form, but not all were so enthusiastic to abandon mute film. Perhaps the most ardent promoter of silent cinema at this time was Charlie Chaplin.

Between 1928 and 1931, the number of silent features steadily dwindled until. In 1930 and 1931, Hollywood produced maybe 4 silent pictures, among the hundreds of sound features that came out in those years. One of them was CITY LIGHTS (1931). If CITY LIGHTS (as well as Chaplin's 1936 MODERN TIMES) serve as an epilogue or elegy for the silent era, it can also be said that Chaplin's film provides a passionate and effective argument for the aesthetic and emotional value of cinema without spoken dialogue.

Once again, Chaplin uses his Little Tramp character in a tale that blends humor with pathos. The Tramp makes the acquaintance of two very different characters - a pretty, blind flower girl who lives in poverty (stunningly played by Virginia Cherrill) and an eccentric millionaire (Harry Myers) who only remembers the Tramp when he's drunk. Chaplin, who wrote and directed the film as usual, plays off of the contrast between rich and poor, and once again his Tramp character shows humor and resilience in the face of adversity. When he realizes that the flower girl is in dire financial straits, he does everything possible to help her, and an unexpected love blossoms between the two. There are many funny scenes here - the opening scene with the Tramp sleeping on the statue as it's unveiled, the Tramp and the millionaire attempting to dance in the restaurant, the comical boxing match - all displaying Chaplin's trademark command of visual humor. The flower girl is the emotional anchor of the movie - happy despite her blindness and poverty, she takes in the Tramp as well as the viewer with her incandescent charm. Neither she nor the Tramp have much materially, but their concern for each other illustrate how love can make every life better despite hardship.

The acting is superb. Chaplin could seemingly do no wrong on screen, and he shows humor, flamboyance, tenderness and warmth in his portrayal. The biggest revelation is Virginia Cherrill, in her first major film role. Cherrill is wonderfully natural, understated and charming, beautiful and luminous, the center of all of her scenes. She convincingly portrays the blind girl and contributes a performance full of feeling. The interplay between Cherrill and Chaplin at the end of the movie is extraordinarily moving and memorable. Harry Myers is funny and memorable as the millionaire whom the Tramp befriends.

Chaplin always employed a rather minimalistic style of cinematography as director. He didn't care to have the camera draw attention to itself, but used it to capture the story in a way that would emotionally involve the audience. Chaplin also composed the score, and it effectively draws out the right emotions from each character and situation.

Overall, CITY LIGHTS is a definite classic. SCORE: 10/10
2015-09-30
The most satisfying cinematic experience I've ever had
By 1930, the silent era was coming to a rapid end. All doubters thinking that the 'talkie' craze would not last were having a wake-up call, and silent geniuses such as Buster Keaton, Douglas Fairbanks, and Charlie Chaplin, were potentially seeing their highly successful careers melting away. Chaplin began work on City Lights back in 1928, yet a troubled and stressful shoot caused production to run until 1931, when Hollywood had all but given itself over to the new talkie era. Refusing to let go of his most famous creation, The Tramp, Chaplin endured with his vision and kept City Lights silent, seeing no hope for his beloved character in sound pictures. Chaplin shot sporadically, seemingly around one central, and very simple, idea, and managed to create his greatest work, and undoubtedly one of the greatest films of all time.

After a chance encounter with a poor, blind and humble flower girl (Virginia Cherrill), The Tramp falls in love. Smitten, he sits down by the sea where a drunk and eccentric millionaire (Harry Myers) is trying to commit suicide. The Tramp opens the millionaire's eyes to life's simple wonders, so the millionaire treats him to life's luxuries, getting him extremely drunk in the process. After a memorable night, the millionaire sobers up and throws the Tramp out, where he spies the flower girl being visited by a doctor. Desperate to make money for her, he takes a job a street sweeper and gets involved in a winner-takes-all boxing match. Yet everywhere he goes, the drunk millionaire is there ready to whisk him off on another wild night.

The juxtaposition of the two central stories in City Nights is relatively strange in terms of relevance to the narrative. The film is clearly a romantic one, which makes it peculiar when it repeatedly cuts to the Tramp's escapades with the millionaire. But Chaplin seems to have incorporated this for two reasons, and two aspects that Chaplin is remembered and adored for - comedy and social commentary. This is Chaplin's most laugh-out-loud film, with the standout being the scene in which the Tramp and millionaire, both highly intoxicated, arrive at a formal party. The Tramp walks across the dance floor, slipping in unfamiliar shoes, trying desperately to stay on his feet. It's a five- second gag, but for me it incorporated all of Chaplin's breathtaking physical ability and subtle energy. Every moment seems like an endless maze of possibilities for Chaplin, squeezing instants of virtuoso out of simple things like lighting a cigar or eating spaghetti.

The Great Depression had recently struck the country, and Chaplin uses City Lights as a gloomy insight to the lives of the people hit by poverty. The blind flower girl seems to have nothing, yet is rich in soul and spirit that the Tramp is uncontrollably drawn to. The millionaire is emotionally vacated - miserable, angry and intolerable when sober, yet boisterous and care-free when drunk. By contrasting the poor girl with the empty millionaire in his lonely mansion, Chaplin is championing the human spirit over material wealth, a beautiful sentiment brought to life by some fine scenes of comedy, and a profound statement given the harsh, demoralising times. This no doubt was one of the key factors that led to the film's surprising commercial success, with a hungry and unemployed audience given a sense of hope through Chaplin's magic.

It is the most satisfying cinematic experience I've ever had - frequently hilarious, awe-inspiring and exquisitely moving. Although Chaplin would carry on making movies and make another masterpiece in Modern Times (1936), this is the last great 'true' Chaplin, his farewell to the era that served him so well. The final scene is the work of a true craftsman, a moment of sheer beauty. Without ruining anything for those who haven't seen it, the close-up of the Tramp's face overcome with emotion is one of the finest displays of acting I've ever come across, and it is easy to see why this scene is now so widely celebrated. A simply magical experience.

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2013-02-13
Decent, but not a must-watch.
Ah, a Charles Chaplin film. I remember watching my fair share of the silent clowns back in film class and here I watched another. City Lights is about a tramp who falls for a blind girl and works to help her out. That's basically the story; here's the twist: she thinks he's a millionaire and he wants to help pay for an operation that will give her sight (which means that she finds out he's not a millionaire). Okay, the story is done.

Honestly, I have to say that I like Chaplin, but I don't love him. This film does nothing to change my mind. There are many cute clowning sequences and they are strung together, although early on, they don't do a whole lot to help the story out and serve almost as distractions. However, taken as individual scenes, they are entertaining, although nothing that caused me to laugh out loud.

The film is helped in that it doesn't resolve too neatly but leaves a little room for our own projection of how we think things happen after we see "The End". And it's a bittersweet plot twist which allows for some empathy, rather than just clowning for the sake of clowning. So, City Lights is enjoyable and human, but suffers from gag-stringing and being a little drawn out. Decent, but not a must-watch. 7/10.
2006-09-29
When the final scene is shown
City Lights (1931) is not only Charles Chaplin's great achievement but it also happens to be one of my top ten favorite films of all time. The emotion and effort that Chaplin put into this film cannot be recreated or matched by anyone. A classic tale about the Little Tramp giving up his livelihood for the benefit of others. Filmed during the height of the Great Depression the situation of life in America has never been caught like this before.

The Tramp is hoboing around town doing whatever odd jobs he can find. One day during one of his outings he meets an attractive woman who has an eye sight problem. Smitten, the Tramp vows that she'll see once again. So, he does whatever he has to do to get this young woman to see. He befriends a wealthy drunkard after he saves his life. The problem is that he only recognizes him when he's sloshed out of his gourd. What really moves this film is the great lengths that the Tramp will put his body through for love.

When the final scene is shown, you'll understand why many people (including myself) have called this one of the greatest films ever made. Pure magic.
2017-05-27
A film masterpiece, despite its flaws
Let's face it: Chaplin's "City Lights" is a great film, but it's not flawless. The inspired bits: Charlie making the acquaintance of the Flower Girl, the boxing match, the achingly beautiful, ambiguous, close of the film where Chaplin walks an emotional tightrope between sentiment and sincerity, and succeeds brilliantly - these are incredible and unforgettable moments in cinema, and Chaplin deserves the plaudits he's received. But such moments are interspersed throughout the film, which is punctuated with long stretches of tedium. Chaplin's inspiration was fitful, and it shows. Nevertheless, on balance, "City Lights" is a masterpiece, rising above it's author's shortcomings to become a cinematic landmark which any student of Film would do well to study.
2002-06-01
A great film, and I don't even like Chaplin movies
Unlike most of the other reviewers, I'm not really a huge Chaplin fan. In fact, to be perfectly honest, most of his movies bore me to tears. But this Chaplin film was different. It had a much warmer feel to it. There was something special about it. It's hard to describe, maybe because it isn't so much any specific part of the movie, but rather the feelings that the movie brings out. I watched it, as if I was hypnotized and when the movie was finished I found myself thinking "Now that's a nice movie!" I believe the mark of any truly great film is the emotion it's able to evoke. So this movie is nothing less than a huge success regardless if it makes it on any top ten lists or not. If you're looking to see Chaplin at his best I highly recommend you start with this warm, light-hearted film.
2006-02-14
Chaplin at his finest!
I have loved Chaplin's work since childhood, and through the years have grown to appreciate his art and talent more and more. The plot is simple: the tramp falls in love with a blind flower girl, played by Virgnina Cherrill, and goes to great (and humorous) lengths to raise money for a surgery that is to restore her sight. This is the classic Tramp character at his finest. In City Lights, Chaplin brings such depth to the character, but never fails to amaze with his brilliant comic talent. Cherrill also does a magnificent job; it's almost as though she was really blind, without a hint of even seeing her surroundings.

This film was rated as one of the top 100 films of all time (AFI, 1998), within the top 20. At the time of production, nearly all filmmakers turned to films with sound. But of course Chaplin did not cave in, and produced a fantastic silent film, at a time when adding sound was all the rage. Thank goodness for that!

I recommend City Lights to absolutely anyone- it never fails to amaze.
2007-10-02
📹 City Lights full movie HD download 1931 - Virginia Cherrill, Florence Lee, Harry Myers, Al Ernest Garcia, Hank Mann, Charles Chaplin - USA. 📀
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