🎦 Modern Times full movie HD download (Charles Chaplin) - Drama, Romance, Comedy. 🎬
Modern Times
Drama, Romance, Comedy
IMDB rating:
Charles Chaplin
Paulette Goddard as A Gamin
Henry Bergman as Cafe Proprietor
Tiny Sandford as Big Bill
Hank Mann as Burglar
Stanley Blystone as Gamin's Father
Al Ernest Garcia as President of the Electro Steel Corp.
Richard Alexander as Prison Cellmate (as Dick Alexander)
Cecil Reynolds as Minister
Mira McKinney as Minister's Wife (as Myra McKinney)
Murdock MacQuarrie as J. Widdecombe Billows
Wilfred Lucas as Juvenile Officer
Edward LeSaint as Sheriff Couler
Storyline: Chaplins last 'silent' film, filled with sound effects, was made when everyone else was making talkies. Charlie turns against modern society, the machine age, (The use of sound in films ?) and progress. Firstly we see him frantically trying to keep up with a production line, tightening bolts. He is selected for an experiment with an automatic feeding machine, but various mishaps leads his boss to believe he has gone mad, and Charlie is sent to a mental hospital... When he gets out, he is mistaken for a communist while waving a red flag, sent to jail, foils a jailbreak, and is let out again. We follow Charlie through many more escapades before the film is out.
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Modern Times Movie Review
Charlie Chaplin is one of the actors, who gives us his body and his soul playing for the audiences in series of pantomimed movies. It is easy for all of us to express what we think, feel, and are concerned of by simply opening our mouth and speaking out, but Chaplin shows us that the ability to communicate with the other actors and the audience can be accomplished not only by the verbal speech, but also by the body language and our inner intentions. In the movie "Modern Times", he gives us a show of his sarcasm towards the fast-paced technology and the inability to catch up with the modernization in the world he lives in. The technology he describes and is concerned of supposedly should help us in our daily tasks as well as improve our life for the better; miserably it not only creates difficulties for him, but also makes it emotionally unbearable for him to deal with. He tries to be as fast as he could be when screwing in the nuts of the machines; he tries to adjust his attitude and physical body to perform and give his one hundred percent, but unfortunately he is left with disappointment when catching up with the rapid environment he is surrounded by. His skills and mind become rusty as he works only on one part of the assembly line over and over again like a robot without a break. His body is beaten- up from work and there is either no excitement at the work place or no direct benefits from the technological advancement. He tries to work hard and by the acceptable norms of the society, but his happiness is diminished as his soul and his inner self suffocate by the cruel demands from the management of the factory he works at. His dedication to accomplish his work requirements creates not only a problem for his co-workers and his superiors when slowing down the factory production, but also creates a nervous break for himself that only makes him physically and mentally weak and vulnerable when he foolishly plays around and annoys others by spraying them with machine oil. Throughout the movie Chaplin shows to us the dysfunctions of the new technology and he sadly transforms the difficult moments in his work career into comic laughter for the audiences. The situations he develops in front of our eyes make us question the advantages much argued and discussed to us about the positive influence of the new machinery. Back then human persona suffer to adjust to the new world which created obstacles and frustrations with the technology. The humanity was challenged by the new and changing future of the technological expansion. The movie shows us different unexpected scenes and aspects that the working class was dealing with at the times of scientific adaptation. Was it worth it or not for the human race to pass through the discomfort and discontent that the future had in store? Deeper insights are needed when conducting a formal or informal research on the case. Chaplin acts astonishingly in order to maintain his view for the present and future evolution concerning the human attempts to improve and benefit the society; and the movie brings us to our senses in observing the reality of the advantages and disadvantages in the new worldly- and quickly- changing technology.
"Hard Times" turns into "Modern Times"
The title of Chaplin's "Modern Times" reminds us of the novel "Hard Times" by Charles Dickens. In fact, both masterpieces are examining the same subject, that is the mechanization of human beings that came with the Industrial Revolution. However,this mechanization is criticized in different ways.

Charles Chaplin makes fun of the modern times which is around the Industrial Age, with a satirical tone. He puts smiles on the viewers' faces throughout the movie. So not going into further detail about the technicalities of the movie, it can be said that it makes you smile and think at the same time. Therefore, if you are a Charlie Chaplin fan and want to smile and maybe even laugh, then go for this movie. Because it is one of a kind.
Chaplin's happiest film : )
"Modern Times" A story of industry, of individual enterprise - humanity crusading in the pursuit of happiness."

this is my first Chaplin film and favorite Chaplin film cause it has a great message about how man has gone with the machine and the movie is hilarious i never laughed so hard in my life and its not crude or anything its so happy.its really a beautiful story.

but what you learn about him being more happy in jail than in the factory, and a great dramatic performance by Paulette Goddard too. this film has great performances even if its silent.

and this film also tells you to not give up like he said "Buck up - never say die."and the music is great too and sound.modern times is must see for anyone.

now you know "modern times" delivers great laughs, some tears and Happiness.

Chaplin's masterpiece
This is absolutely the finest film Charlie Chaplin ever made-which, considering the overall quality of his work, says a great deal for the quality of the film. Genius is a much over-used word, but in Chaplin's case, it's use is apt. This is one of the classics of cinema and one of the greatest films ever made! The scenes in the factory are hilarious. You have got to see this film! Most joyously, totally and highly RECOMMENDED!!!!!
Enjoyed 'till the end
"Modern Times" is an exceptional movie, also being the last silent-ish movie produced by Charles Chaplin. As we all were accustomed with his depictions of every day lives of ordinary people, this movie brings to life the hardship of a working man during the Great Depression of 1929.

This depiction of the working man during a economical state is "flavoured", enhanced by the skills of the producer. It depicts the life of a very ordinary working man, with a job in a factory when the economical state is damaged by the event that occurred in 1929.

It is a very beautiful depiction of how a persons life can change when the life they know is completely ruined by a major event and how they choose to cope with the fact that their lives may never return to its original state.

Another great and amazing thing about all of Charles Chaplin's movies are the other characters in all of the movies. You can sense that all of the characters of this movie were, in some way, affected by the Great Depression and that emotion is transmitted on the silver screen.

The last thing I want to say was how long was my smile at the very end of the motion picture. The flow of emotional feelings was immense and there is some truth in the last lines of the main two characters: Never Give Up on something.
Our Modern Times
Said Barodi

Charlie Chaplin And a Look at Our Own Modern Times

Once again I get to enjoy watching Charlie Chaplin's master piece Modern Times. The movie possesses this quality that I can interpret it in many different ways according to the events prevailing in periods during which I watched it. The movie could be interpreted politically, artistically, socially and technologically. It possesses these prophetic and futuristic visions of the world we live in today. But this time, as I watch Modern Times again, it came at a very interesting period in my generation's lifetime which is the worst economic crisis since the depression of the thirties. Watching Modern Times reminded me that our economy hasn't learned the lessons taught by the depression of the thirties and that if we don't shape up the economy we might as well be heading for another one soon. As I watched the movie I couldn't stop thinking about my last tour in the state of Michigan with my in-laws. During my last visit to Michigan I watched the iconic state of United States economic power disintegrate in front of my eyes. They were abandoned houses everywhere in Detroit, lines of jobless people lining up in front of day labor spots and unemployment offices. The infrastructure of the city is falling apart, rust everywhere from abandoned factories to bridges. Roads were filled with pot holes. The iconic towers of GM simply looked miserable and macabre; the State of Michigan was dying. As we all followed on the news for the last few months, the iconic state of Michigan was falling apart as the big three, Ford, General Motors, and Chrysler were preparing to file for bankruptcy and were laying off thousands of their workers and shutting down many factories and dealerships. The chain reaction from the fall was not limited to Michigan or to the auto industry, it was everywhere, it was nationwide. When I watched Modern Times again it gave me another insight as to what happened exactly, or part of what I believe happened. As Charlie Chaplin carries on his monotonic and tedious task of screwing two bolts to a part moving fast on a mechanized belt, I thought about the generations upon generations of blue collar workers who were brought up in an industrial culture that supremely valued efficiency to the point it neglected the human factor in the production chain. Generations of blue collar workers who where brought up in the auto industry of Michigan and other industries that use the same production methods as those portrayed by Charlie Chaplin in Modern Times. The results were disastrous every time an economic crisis hit, the industry produced hordes of unskilled workers who received no cross training or opportunity to advance within those industries in a way that would allow them to compete and obtain jobs in case they were laid off. The monotonic tasks immensely limited the workers' creativity and skill level to the point were they became solely reliant on the same employer and work place and unable to adapt to economic and industrial changes such as recessions and outsourcing. I believe that Charlie Chaplin's critic of the efficiency-above-all model of production is time-proof and still applies to our own modern times. It is time to restructure the US industry in a way that it puts emphasis on the human factor and instills ingenuity and creativity in the American worker.
"Actions speak louder than words"
There is something fundamentally sad about Modern Times, by the very fact that it shows an unparalleled genius making his last move in the now-defunct art form with which he made his name. Charlie Chaplin, undisputed master of silent comedy, had managed to bluff his way through the awkward early days of sound, but by 1936 the talkie had got its act together, and screen comedy was dominated by the witty wordplay of the Marx brothers and the smart sass of screwball. Slapstick had all but lost its market, and the picture is saturated with a feel of "One last time…" A

nd Chaplin expresses his feelings with scathing satire. Modern Times is quite plainly a blast at many aspects of industrialised living, especially unemployment and Fordist production management. However the picture also takes several sly swipes at sound film itself. From the beginning, sound is associated with the mechanical, the authoritative, and the austere, with the few bits of spoken dialogue being via some piece of technology such as a radio or the boss's speaking tube. Sound effects too are reserved for nasty clanking and scraping sounds of machinery and things breaking apart. Finally there is Paulette Godard's pronouncement that "The words don't matter" as Charlie forgets the lyrics for his singing waiter act. Chaplin was of course very good at nonsense voices, as this and his Adenoid Hynkel act in The Great Dictator demonstrate, whereas meaningful verbal comedy was his Achilles Heel.

Despite all this vehemence, Chaplin is making one or two concessions to contemporary cinema. Modern Times features a lot more camera movement and close-ups than we see in his previous pictures, where he tended to stick to static long shots to preserve the best flow of physical comedy. The more technical approach here is always done for a reason – for example whip-panned close-ups are used for emphasis, and there is often a change of angle to punctuate a gag such as the half-built ship slipping out of dock. While they do draw attention to the funniest moments they disrupt the purity of the routine and are most likely concessions made by Chaplin for an audience not used to silent comedy. Modern Times is also much more variable and fast-paced than previous Chaplin features, skipping from factory to prison to department store and so on.

And yet, of all his feature films, Modern Times includes perhaps the most protracted bouts of silent comedy, far more than the story-driven City Lights. Despite its linking plot, the various settings in which the little tramp finds himself each provide fully-fledged slapstick routines, and there are very few moments in which point or poignancy are allowed to overrule the comedy. The picture is in some ways like a compendium of the non-stop gagging two-reelers he was making in the 1910s. Modern Times may not be quite the tearjerker that The Kid or City Lights were, but it is the master's final great showcase of his primary talent.
Still fitting for these Modern Times of Smart Technology
Some of its relevant, and some of it not. This takes a look at the mechanization of society intermixed with the slapstick humor and physicality of Chaplin's acting. There's a reason why people still love to this day. Its part of my film history class that we watched it. Give it an honest look. For a silent movie made during the talkies era, surprising that it did so well.
Farewell to the Tramp
At a time when the art of filmmaking was rapidly churning toward the future, Chaplin was still fighting a one-man battle in favor of silent films. Famously he didn't think much of talking pictures and predicted that they would die out in five years. So, he gleefully pressed on, working his magic in, what was perceived, as a dead art form. Chaplin's contemporaries thought he was behind the times and he continued to fight a battle by keeping his films silent even though he didn't make many in the sound era. As punishment, his last two silent films, City Lights and Modern Times, did not receive one single nomination.

Neither of the two silent films that he made after The Jazz Singer were totally silent, they incorporated sound effects and a line or two of dialogue, but both used sound as a means of being critical of the process. First was City Lights which opened with a political speech in which the audience only heard squawks coming from the speaker's mouths. The other was Modern Times, a red-blooded assault on madness of the machine age.

Modern Times wasn't his best film but it was certainly better than anything else released in 1936. It was one of his most important films mainly because it was his transition from silent to sound. Here he satirizes the process but there is a tone that suggests that he's ready to move on. It is the most technologically innovative of his works yet it remains silent. The only noises come from machines and the only voices are heard over a radio, a monitor and a phonograph. The message is that Chaplin will move into the sound age, but that doesn't mean he will give it any respect. The reason that the film is important is because it displays his best gifts for satire. His other films had satire but it bubbled under the surface – this film is more of a full-frontal assault. He exposes the madness of over-dependence on machines, the economic crisis, communist paranoia and man's never-ending pursuit food, glorious food.

Most importantly, perhaps most famously, this is the film in which Chaplin bids farewell to The Tramp. There was some discussion of the possibility of giving the Tramp a speaking voice but Chaplin wouldn't hear of it. When the studio insisted on it, he created a moment in which the Tramp sings a song, an odd tune called "Titania," sung in gibberish.

Five years after City Lights, Chaplin uses The Tramp to show how the society has changed, how it has grown past his gentle nature and threatens to crush his fragile spirit. In the blistering maelstrom of The Great Depression (this was 1936) we find that The Tramp has had to join the work force, working ten hour days at a steel factory turning the bolts on a grotesque machine that frequently breaks down and constantly speeds up. As he turns the bolts on the conveyor belt, he has to catch up if he misses one. The machine finally swallows him, and The Tramp finds himself bending inside the machine's cogs, but he's so loopy that he doesn't even notice.

Although the film finds The Tramp working it also underpins the same theme that Chaplin has always worked with, survival. After going insane, The Tramp is sent to a mental institution and after having been cured, the rest of the film chronicles his desperate search for work. At the docks he meets a gamine (Paulette Goddard), a plucky girl stealing bananas for her brothers and sisters. Food becomes a dominating goal for these two and one of the central themes of the picture: The gamin steals bananas and later bread; The Tramp is nearly killed by an automatic feeding machine that short circuits; The couple have cake in a department store where he works as the night watchman; He eats a very large meal that he can't pay for in order to get thrown in jail where he will have decent food and a roof over his head; Later when he gets his job back at the factory he stops to have lunch even though his supervisor is stuck inside the machine; And he fantasizes about his dream house and coming home to the wife . . . at dinnertime.

The world of Modern Times is not that far removed from Fritz Lang's Metropolis. Both films present a world besieged by the chaos of its own technology and both present the kinds of oppression that Orwell would brought to "1984". The inside world is a crush of machines and noise, the outside world is awash in riots, strikes and marches. The Tramp, as always finds himself caught in the middle of one damn thing after another. The message is that things are tough all over, but as The Tramp confides in the gamin to keep chin up and spirits high because if you keep trying eventually, it will all work out.

Most of the Tramp's efforts come to nothing, just when he has something it blows away in the wind and he finds that he has to start all over again. This has been the theme of the Tramp all along and, given his determination, we know that he will never give up.

It's fitting that Chaplin's Tramp bows out in Modern Times, one more film and I think he would have become dated. The world has moved past him, it's grown too large and too fast for his gentle spirit to maintain. In the end we find him still searching for his dream, the difference is that in the end when he walks into the sunrise of a new day he doesn't go alone. With that, we know he'll be okay.

**** (of four)
"Buck up - never say die. We'll get along"
By 1936, Charles Chaplin was already an anachronism – albeit, an anachronism who was also treasured as an artistic genius. The arrival of 'The Jazz Singer (1927)' did little to curb the director's enthusiasm for silent cinema, and, though he considered at length the commercial implications of converting to synchronised sound, his first film in the "talkie" age was almost completely silent (Chaplin compromised by composing a musical score). Nevertheless, the critical and commercial response to 'City Lights (1931)' was strong, reaffirming Chaplin's status as a cinematic master, and vindicating his decision to linger with an otherwise extinct medium. Thus, 'Modern Times (1936)' was to follow in the same mould, despite a synchronised soundtrack which includes a musical score, sound effects and several lines of spoken dialogue (always spoken through a mechanical "barrier," such as a record-player, radio or loudspeaker). The film is historically significant in that it was Chaplin's first overtly political work, raising concerns inspired both by the economic hardship of the Great Depression, and Chaplin's growing interest in socialism.

The title 'Modern Times' is used to deliberate ironic effect. Traditionally, to be modern was to be at the forefront of human progress, a step forwards in Man's noble attempt to assert his dominance over his environment; in short, to further distinguish our species from the lower animals. Yet Chaplin believed that such widespread industrialisation was a step backwards for society. Even from the opening shot, he draws comparisons between the hustling crowds of factory workers travelling to work, and a flock of sheep being herded through a corral. The dehumanisation caused by the workers' monotonous factory work is played for maximum comedic effect, with Chaplin's Tramp eventually driven to a nervous breakdown by Frederick Taylor's apathetic brand of scientific management. In these conditions, direct human interaction is minimal, and almost always channelled through an mechanical mediator. In a scene predating Orwell's "Nineteen-Eighty Four (1949)," Chaplin is reprimanded by a telescreen in the bathroom, the image of his boss looming overhead like the spectre of Big Brother.

Chaplin may also have been remarking upon the rise of the Hollywood studio system, which by then employed a comparable assembly-line approach to film-making. Chaplin, who was given full artistic control through his co-ownership of United Artists, worked in complete opposition to these practices, though it could be argued that his perfectionism and often improvisational style was so inefficient that only an artist as wealthy as he could have gotten away with it. Truth be told, there's nothing particularly distinguished about Chaplin's direction – despite his strong reliance upon actions over words, his silent films were never as visually accomplished as that of Murnau or Lang, for example. However, his greatest talents as a filmmaker were concerned with the plight of people, and, however much sentimentality he liked to dish out, there can be no doubt that, in Chaplin's characters, one found individuals with whom they shared a very real human bond, of empathy and compassion. For all the director's criticism of modern society, he possessed a genuine belief in the value of human spirit.

When Chaplin came under fire for alleged "communist sympathies" in the late 1940s, the content of 'Modern Times' was scrutinised for evidence to support the allegations. Certainly, within the director's distaste for industrialisation one may discern an underlying dissatisfaction with capitalism, but Chaplin was definitely not a communist; after all, a prime motivation in his choosing to continue producing silent films was to retain his commercial popularity in foreign-language markets – that's the capitalist spirit! Nevertheless, Chaplin was eerily prescient when he included a scene in which his Tramp is falsely accused of being a communist, mirroring his own intense political troubles, which concluded in 1952 with the retraction of his US re-entry visa. Though he was initially hesitant about breaking his screen silence, as Chaplin's political convictions grew, so too did his desire to have himself heard. For that, he would, however reluctantly, have to embrace the technology of sound, and, for a mouthpiece, he would choose the most hated man in Europe.
📹 Modern Times full movie HD download 1936 - Charles Chaplin, Paulette Goddard, Henry Bergman, Tiny Sandford, Chester Conklin, Hank Mann, Stanley Blystone, Al Ernest Garcia, Richard Alexander, Cecil Reynolds, Mira McKinney, Murdock MacQuarrie, Wilfred Lucas, Edward LeSaint, Fred Malatesta - USA. 📀