🎦 Modern Times full movie HD download (Charles Chaplin) - Drama, Romance, Comedy. 🎬
Modern Times
Year:
1936
Country:
USA
Genre:
Drama, Romance, Comedy
IMDB rating:
8.5
Director:
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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Reviews
My favorite Chaplin...
As my title states, this is my favorite Chaplin film. Not that I have a ton to draw from, but still the one I've enjoyed the most.

Watching him dance was quite a treat. He can sing, too. Very talented guy, this Chaplin.

If you are curious about his films, start here. It's no surprise that this is his highest rated film on this site.
2003-03-10
"Modern Times" and the negative effects of modernization
"Modern Times" by Charlie Chaplin is a comedy but also a scathing commentary on the effects of modernization on the individual. The movie shows one man and one woman's trials and tribulations during the "Great Depression".

"Modern Times" follows the life of the factory worker (Charlie Chaplin) and the Gamin (his wife at the time). The factory worker's life is shown beginning with an incredibly poignant fade from a herd of pigs being corralled down a caged in hallway presumably toward their slaughter to a mass exodus of humans from a subway entrance. This immediately makes one imagine that the humans are exactly like the pigs being led to slaughter, but the slaughter the humans are facing, or so the film espouses, is the slaughter of their individuality. The movie shows all of the workers in the factory toiling very hard to keep up with their grinding jobs as the factory owner sits on his rear and has breakfast and relaxes as he watches the workers through a closed circuit television system. He constantly is forcing the workers to work harder for the same pay.

One of the most interesting things done in the movie is having the thing selling the automatic feeding machine be a machine itself. This shows a glimpse into our own future commenting on machines taking our jobs like most jobs at car factories are now done by robots. The factory owner tries out the automatic feeding machine on the factory worker, hoping that the machine would allow him to stretch his worker's days even longer by ending the lunch break. This shows the rich, the factory owner, exploiting the poor, the factory worker, and how the rich continue to get richer on the backs of the poor. Eventually the stress of it all takes its toll on the factory worker and he cracks.

The themes of modernization ripping away individuality, the rich exploiting the poor, and individuality sticking out in a bad way continue throughout the movie. You at once laugh at the factory workers exploits but at the same time feel his pain. The comedy shows a less depressing way to look at the problems allowing for a hopeful view for tomorrow and the possibility of finding solutions. The movie has great meaning even today about the injustices of modernization.
2008-05-22
From opening to closing shots, this is another of Chaplin's masterpieces
A put-upon little man tries to make it in an increasingly manic and confusing world and always seems to fall victim to circumstance, but he meets his soulmate in a poor girl of the streets and together they team up to take on what may come.

Chaplin's final silent film and the final film in which he plays his iconic "Little Tramp" character is not only consistently hilarious, but is a perfect commentary on the struggles of the common man during the Depression. He plays one of the hordes who slave away for low wages while the upper classes while away in their idleness.

Charlie is at his best here and the film contains many memorable scenes, including his being caught in the giant machinery of a factory, his inadvertent leading of a protest march which lands him in jail, his blindfolded excursion on roller skates, his delightful song in the cafe and the memorable final scene as he saunters arm-in-arm down the road and into the sunset with his wonderful costar, Paulette Goddard, as the picture fades out. The have nothing but hope - and each other.

The film is brilliantly performed by Chaplin and the supporting cast, masterfully directed and superbly shot and edited. Even though the film is largely silent, save for sound effects and a few snippets of dialogue, there are few title cards. This is because the film is so expertly acted and directed they are not necessary. The story can be easily followed with only the bare minimum of titles.

Everyone has their own favorite Chaplin film (mine is "City Lights"), but this ranks with the best of his work. It is a masterpiece of cinema.
2016-07-10
SMILE!!!
This is the supreme Chaplin picture of them all. As a fond farewell to silent pictures, Chaplin and a young, gorgeous Paulette Goddard (his wife at the time) deliver groundbreaking performances in this moving drama/hilarious comedy about not one, but two tramps trying "to get along". I recommend this film to anyone looking for a good laugh, or in the case of this picture, a million. Although at first when/if you sit down to watch it, you'll think what you're watching is a completely silent movie. Believe me, for a mostly silent film, it's pretty loud. Both in it's synchronized soundtrack (with the exception of voices) and it's emotional stand point.
2003-11-08
Solid comedy with great story and drama
Greetings from Lithuania.

"Modern Times" (1936) is my first movie which i saw that features Charles Chaplin. Saw it first time in 2015, but nevertheless it's a great movie. Comedy here is truly funny, and it's not just a comedy. It tells a story, with some underlying themes that are still kinda topical till this day – technology is changing, evolving, and if you are not keeping pace with it, you will have some hard times like our hero of this movie.

Acting here is very solid, actually i was surprised of how well acted this movie was – no one overreacted. Story itself is interesting and movie is very well paced – at running time 1 h 27 min it almost never drags and is entertaining from start till finish.

Overall, "Modern Times" is a black and white silent movie (there are some sounds actually) which safely can be viewed for the first time even in 2015 – 79 years after it's original release. It has some truly genuine comedic situations, it tells good story and pacing of picture is very solid. Maybe it is not possible to review this movie correctly now because it's very old, but great movies are great movies – they can be viewed no matter what.
2015-06-28
Chaplin is Awesome
I love Modern Times.I love Charlie Chaplin.I don't know what else to say that hasn't already been said.He was great with physical comedy and poignant with dramas despite being silent.Acting is reacting and he did it brilliantly with his eyes.
2003-02-22
Still modern, funny and profound
It is difficult to review Chaplin's movies objectively because many of us have seen them, or at least have heard about them, since we were young. They have become part of our emotional and/or cultural background.

Chaplin is arguably the only complete director: in most of his pictures, he also produces, acts, writes the script, composes the music, does his own stunts and edits. His talent and reputation generated numerous commercial successes, even when he continued directing silent movies after their time. "Talkies" were the only films produced after 1927, the few silent attempts afterwards were failures; yet Chaplin was an exception: "City Lights" in 1931 and "Modern Times" in 1936 were sensations worldwide (the latter includes a few sounds but they are marginal). This is remarkable since nine years is an eternity in cinema timeframe. Only in 1940 did Chaplin direct a talkie.

*** WARNING: CONTAINS SPOILERS ***

Is the movie a comedy? Partly: tragi-comedy is Chaplin's trademark. In my opinion, there are three levels of humour.

1. Pure amusement, sometimes as in slapstick: the tramp eats all he can to be sent to jail and even buys more when he is with the policeman; he is drugged in jail; the tramp and the gamin imagine their life in an idyllic house; the tramp roller-skates close to an edge in the department store (fabulous stunt); he makes a lousy waiter but a great actor at the end. Again, I am not certain how much of the fun is derived from childhood memories and/or the fact we feel younger as we watch the film. To enjoy it fully, we must lay aside some of our adult critical sense, notably towards old-fashioned cinema.

2. No humour, just drama: the gamin's father dies; her sisters are taken away; the tramp crashes his way through the crowd to get a job (an efficient illustration of ruthless competition).

3. Amusement with a dramatic twist: these are the most frequent scenes, and probably the best. We grin even as we laugh. The movie opens on sheep moving grouped (of which a black one: an allusion to the tramp?), that fade out to workers coming out of the subway. This must have been a shock for the audience during the Great Depression. Another example is one of Chaplin's most famous scenes ever: the tramp tries the eating machine. It is at the same time hilarious (Chaplin really gives all of himself here) and pathetic: a metaphor on ill-conceived progress, oppression of man by machine and conditions of workers obliged to comply with strange requests.

Other scenes include: the entire first part in the factory, including when the tramp is stuck in the machine (inside shot, that became iconic), which also happens to a colleague later on (outside shot); the tramp launches by mistake an unfinished ship into the sea, with footage of an actual ship that was probably sunk because of the Depression; the tramp and the gamin make most of their shabby hut.

The movie efficiently alternates these three levels of humour, as well as its rhythm. It famously starts as a whirlwind with dynamic tempo and music. And it ends like a roller-coaster: funny musical (the tramp sings), emotional (he is hired), dramatic (the police arrest the gamin), thriller (they run away as climatic music plays), melancholic (they are on the road, free but uncertain). The last image is rightfully double-edged: the tramp and the gamin walk away, but mountains ahead block their road. She looks like an elegant lady, he looks a bit like a clown with his funny walk and big shoes. We don't know where they are going, nor do they.

Hence Chaplin's ambition was far more than to just divert. Themes depicted eighty years ago are still modern:

- Crisis, redundancies, strikes, inequalities, social unrest

- Working conditions in factories, even though exaggerated by humour and symbols: productivity, control, burn-out

- Technology that dehumanises: chain-working, the eating machine, video surveillance (a science-fiction element at the time). Remarkably, the only sounds of the film are coming from devices, not humans: screen, phonograph, radio

- Success with talent, work and some luck

- The law. The topic is prominent (the police are omnipresent) and ambiguous. Can one steal food to survive? Chaplin seems to excuse this behaviour. The tramp is on both sides of the law: he steals food but helps the police arrest villains in jail. And the police's role is complex; notably, they shoot an unarmed man, followed by the ironic card: "The law takes charge of the orphans"

- Violence and drugs in prison

The universal dimension of the movie shows by the fact the main characters have no name: the tramp, the gamin. Chaplin will be blamed for its social topics during the McCarthy era, among other grievances, and he will be forced to exile. Considering it now, this seems ridiculous since the message of the film is not communist: the tramp and the gamin want everything but change society; they search for a job, a home and respect. Note also Lincoln's portrait in the tramp's cell: he is a patriot.

The movie does not take sides. Workers can be friendly or violent. Policemen can be friendly (e.g. in jail) or violent (one purposelessly pushes the tramp outside the factory). Prison inmates can be honest (the tramp) or villains. Women can be attractive (the gamin) or not (all others, actually). This double-sidedness also divides individuals. Big Bill was bullying the tramp in the factory, but later sympathises with him. The gamin steals and then becomes settled. The tramp will do anything to protect the ones he loves (the gamin, children), but can abuse almost anybody else to achieve it: a recurrent feature in Chaplin's pictures.

The underlying message seems to be: people are not good or bad, it mainly depends on their conditions. Yet another modern theme.
2016-03-15
Govt. 490 Robert Tenorio
"Who's that goofy looking man with the over-sized suit stuck in that machine?" One would ask catching a glimpse of Charlie Chaplain's Modern Times (1927). Charlie Chaplain, bent and contorted between gears and sprockets, provokes laughs as well as thoughtful insight into man's relationship with technology. This film entices one to consider the conflict between the human body and machines.

To stimulate thoughts on man's relationship with machines, Modern Times places the main character, a happy-go-lucky factory worker who inadvertently finds trouble with the law and has difficulty keeping a job, in a variety of awkward situations. In telling his story, the movie exposes themes surrounding industrialization, unemployment, and social stratification. These themes reflect the movie's main point that industrialization can lead to unemployment and a stratified social structure.

Industrialization is a major theme in the movie. At a factory, it is obvious that machines play a large role. In fact, it seems that the men are secondary to the machines. The workers do their work based on what the machines do; a machine is even brought in to feed the workers. This is apparent during the main character's struggle to keep up with an ornery conveyor belt. Eventually, the main character finds himself sucked into the machine. Watching a man surrounded by the inner workings of the machine, one cannot help but reflect on the ubiquitous nature of machines in society. Although the machines are helpful, their presence causes hardship amongst many.

The increasing use of machines is depicted in the film as a chief cause of unemployment. While trying to find work, Chaplain's character experiences the hardships caused by vast unemployment. A young female friend of his personifies the struggle endured by many who could not find work. The machines are directly connected to unemployment through a newspaper clipping. The clipping reads, "Factories Open: Men returning to work." Were it not for the machines in these factories, men would have no work, but one must remember that it was the machines who put them out of work in the first place.

The movie goes on to suggest that machines have stratified society. While many suffer from unemployment because of the machines, others thrive. The president of the factory provides the best example of this. He sits in his office doing puzzles and occasionally shouting an order through a machine. While his workers exert themselves and others starve on the streets, this man has benefited greatly because of machines.

Through these themes, one notices the constant conflict between man and machine. Chaplain's character struggles against conveyor belts and escalators and suffers at the hands of an uncontrollable feeding machine. While in a constant struggle with machines not to be replaced, man finds himself in need of them as well. They make his life easier in some cases. Although produced seventy years ago, the social commentary provided in this film raises pertinent questions for today. As machines become "smarter" and more useful, how can man maintain his value?
2008-05-22
Quirky
I watched Modern Times as my first Chaplin film and in fact, my first ever silent film. Being 21 years old I may have a different view on comedy and older films but I failed to see the deep emotional side of this film.

The ending is emotional, thought out and very touching, but I personally felt that the simple plot consisted largely of slapstick comedy (which I have never been fond of) performed by a protagonist who could not function as a normal human being in modern society. Because of this, I found myself unable to relate to the film. I believe that a more 'normal' protagonist could have given this film much more meaning... saying this, if we had a 'normal' protagonist then this would not be a Charlie Chaplin comedy film.

To summarise, my relatively low score out of 10 comes down to my age, my lack of understanding of Chaplin's history and my dislike of slapstick comedy. The reason the score isn't lower is due to my respect for Chaplin, silent films and old cinema as well as finding some of the moments in this film both amusing and touching.
2017-04-27
manifesto
a social manifesto. that is the definition who seems be the perfect choice in this case. industrialization, pressure of machine, the people as tools, the chaos and economic crisis. but the essence remains the comedy. more bitter but comedy. because the Tramp is the same. because Paulette Goddart remains the perfect choice for be the part of a strange, touching couple. because the gags are more significant in this case than the social struggle. because few scenes remains memorable. Modern Times is different in Chaplin's work for the mixture of serious criticism , using the parable, and the pure show. but that fact does it an useful manifesto . because it is the right manner to remind the small details who defines the life.
2015-08-05
See Also
📹 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. 📀
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