🎦 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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The Farewell Performance of The Tramp
Charlie Chaplin's Modern Times (1936) is the final film to feature the great actor/director/writer's most easily recognizable incarnation: The Tramp. Here is a character that is so ingrained in the collective conscious of modern film audiences that many recognize him despite the fact that they have not seen a single Chaplin film. Indeed, several iconographic studies have labeled The Tramp (with his worn hat, distinctive mustache, dusty suit, cane, and trademark waddle) as the single most identifiable fictional image in history.

Still, the film that perhaps most influenced the creation and thematic realization of Modern Times was not even a silent one. The Jazz Singer, which debuted in 1927, five years before Modern Times began production, is perhaps the most important watershed film in the industry's century-old history. In the film, comic great Al Jolson stands up in front of the audience and...sings. And as Millard Mitchell said in Singin' in the Rain, the public was suddenly in a frenzy for "Talking pictures! Talking pictures!" Sadly, with the advent of synchronized sound and dialogue, the world of silent filmmaking began to slip into obscurity with audiences and studios now viewing it as obsolete and undesirable. Nevertheless, Chaplin continued his passion for the subtle craft by creating City Lights (1931), which many critics and academics consider one of the greatest films ever made, but by the time Modern Times was released, Chaplin was one of the last directors left clinging to a dying art.

Modern Times is not an entirely silent film, (there are dialogue snippets and sound effects), but if you look closely, every character with dialogue (excluding Chaplin himself) is being mocked. Even when The Tramp opens his mouth (the only time he ever did so in a film), the words are nonsensical, defying the burgeoning convention that dialogue is mandatory for substance, entertainment, and quality.

Despite the film's status as one of the greatest comedies of all-time, it is hard to ignore the political component. In his movies, Chaplin often exhibited a great mistrust for authority and progress, as often embodied through the social elite, the police, and wealthy entrepreneurs. The irony of the film's title, then, is two-fold. It connects with Chaplin's own bitter feelings regarding his moribund art form, but also refers to the plight of the working classes during the Great Depression (long working hours with little job security and meager salary, while the upper classes remain wealthy and bide their idle time) The world was changing fast, and Chaplin foresaw that many of these changes were far from beneficial.

As we watch The Tramp struggle through the modern, mechanized world, we laugh at his antics and the absurdity of their results, but we can also feel pain and pity. He is clearly a man who does not belong. Indeed, The Tramp can almost be thought of as a misfit who has passed through a membrane from some alternate reality and unwittingly fallen into our familiar world (notice that he does not have a name or identification of any kind, and as far as we know, he has no friends, family, funds, or history).

He takes on assembly lines, feeding machines, department stores, policemen and various other mass-oriented aspects of the industrialized world (all which demand and exhibit sameness and conformity), but The Tramp (and his symbolic extension, the individual) never seem to fit.

This is, consequently, why Modern Times is also one of the most poignant love stories ever put on film. The only character who is on the same level as The Tramp is a young, homeless woman who is referred to as "The Gamin" and is played by Chaplin's then-wife, Paulette Goddard. These two are brought together by the fact they have almost nothing except the will to live and continue forward, despite adversity. Both are nameless, neither has a home, and they each have no money or material possessions.

It is here that Chaplin makes his most poignant and saddening statement about modern living. The Tramp and The Gamin are the only characters who exhibit individuality and idealism, yet they are also the ones lowest on the social and economic food chain. The conclusion of the film, which most likely reflects upon Chaplin's own emotions, is tinged with sadness, but also a lingering hopefulness that resonates as loudly and clearly today as it did more than sixty years ago.

Then there is, of course, the comedy, which is the stuff of legendary status. Some of the most memorable comic images in film history are found in Modern Times. These include The Tramp's bout with an assembly line (and his resulting twitches), his unfortunate encounter with "nose-powder", the moment when he quite literally becomes a cog in the wheels of industry, and his epic struggle to bring roast duck to an angry customer.

In my opinion, however, the two standout moments are the scene in a department store involving a blindfold and some rollerskates (the most exquisite moment of comedy in the film) and the sequence where The Tramp is submitted to the mad whim of an out-of-control feeding machine (the most uproarious moment in the film).

These are just a handful of moments that make Modern Times the enduring masterpiece that it is. On a personal level, the aspect of the film that resonates strongest with me is its appeal to the idealistic misfit in all of us. In our hearts, many of us long for the simplicity and exuberance with which The Tramp and The Gamin live life (with attention to the bare essentials and an absence of need for materialism and modern trappings).

As Chaplin so skillfully shows, however, our modern times make this lifestyle a faded dream, lost among the sheep-like herds of men and women scurrying through a modern metropolis that only Fritz Lang could make seem darker and more devoid of true humanity. Still, the final image of Modern Times refuses to let the film end on an exclusively tragic note and demonstrates that the individual is still alive and may yet find his way in an ever-changing world.
Hilarious n touching film.
Modern Times portrays Chaplin as a factory worker employed on an assembly line. There, he is subjected to such indignities as being force-fed by a malfunctioning "feeding machine" and an accelerating assembly line where he screws nuts at an ever-increasing rate onto pieces of machinery. He finally suffers a nervous breakdown and runs amok, throwing the factory into chaos. He is sent to a hospital. Following his recovery, the now unemployed factory worker is mistakenly arrested as an instigator in a Communist demonstration. In jail, he accidentally ingests smuggled cocaine, mistaking it for salt. In his subsequent delirium, he avoids being put back in his cell. When he returns, he stumbles upon a jailbreak and knocks the convicts unconscious. He is hailed as a hero and is released.
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.
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.

A film I will continue to watch for years and years.
Everywhere people look, there is someone staring at a machine. Computers have become more popular than they were ten years ago. Gameboys and iPods are constantly used by young people the world over. Even "mom and pop" stores rely on machines. Who predicted that all this was going to happen? One person did in 1936 and his name was Charles Chaplin. The world's greatest director said all this in his best film Modern Times. Obviously predicting the future wasn't Chaplin's only intention. He also wanted to take his beloved Tramp character to bigger and more exciting settings. The gags are important for all of Chaplin's comedic pictures and Modern Times is no exception. Finally, the Tramp was given a real love interest and one who the viewers want Chaplin to get together with. Modern Times stands as not only one of the funniest, but also one of the most important movies of all-time.

One of the most famous images from Modern Times is one showing the Tramp in the middle of a group of cogs. What most people don't know is what occurs after, which involves the Tramp becoming crazy and being sent to a mental asylum. This represents something that was happening to factory workers at the time. Chaplin understood the workers' problems and was able to show what was happening to them on screen in a comedic, but respective manner. However, the main reason that Modern Times has become timeless is because it is still relevant in today's society. Technology can be found everywhere nowadays, so much so that people are now obsessed with getting the newest game system or portable video device. Chaplin feared that that would happen and he used his film to show the future decay of society. About a decade before the publication of George Orwell's 1984, Modern Times featured a factory president barking orders and spying at everyone using a television. What is even more impressive is that the television did not enter the world until the 1950's. Now, while Modern Times is a silent film, people are heard speaking, but only from electronic devices showing Chaplin's opinion on the "talkie" revolution. However, since this would be the Little Tramp's final appearance, it was time to give more space for more gags.

Charlie Chaplin's short films concerned mostly simple gags repeated throughout its short course. When he made the large leap to feature-length films, he allowed the Tramp character to grow far from what he considered a comedy to be. He had said to Mack Sennett while leaving Keystone Films that all you need to make a comedy is "a policeman, a park and a pretty girl." Yes, Modern Times does have various policemen as well as a pretty girl, but it has moved far beyond the park. Chaplin's wonderful idea to lampoon Henry Ford's assembly line involved him moving the Tramp from the park into the factory. He also renamed him the "factory worker." People are so enthralled by the factory worker's actions due to how well constructed the story is. Chaplin's screenplay is so entertaining and thrilling. This is a story that makes one think and laugh at the same time. Only the Tramp could go through each job and fail miserably, but already be ready for a new adventure involving a new girl.

In Chaplin's previous works, the Tramp is mostly seen going after a girl and trying to win her heart. However, there is always an obstacle in the way, whether it be a big bully also fighting for her affection or blindness. In the end, he never does get the girl and walks off into the sunset. For Modern Times, the Tramp and the gamin are a team ready for new adventures. With Chaplin not trying to get together with her, it actually works out better for him. Paulette Goddard's performance is very nuanced and she is a girl the audience likes and was probably the smartest female character in Chaplin's film. The Tramp and the gamin's combined knowledge of hard-knocked life make them fight the oppression of the world. Even when they're down on their luck near the end of the film, the Tramp gives this important piece of information: "Buck up - Never say die. We'll get along!" The Tramp was always not only raising the viewer's spirits, but the characters in his films as well. The gamin was the last character he'd give his advice to and it was probably his best. Anyone down on their luck should have a positive outlook on life, because it won't get better if someone mopes all day long. For those with negative minds will lead a horrible and unhappy life. These are the ideas that people should carry with them everyday.

While one of Charlie Chaplin's main intention was to make people laugh, he also wanted to educate viewers about the problems facing people in America. Modern Times is a masterpiece where the Tramp fights depression, gets the girl and makes people have a jolly good time.
"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.
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.
The Lady and the Tramp
MODERN TIMES (United Artists, 1936), was written, produced, scored, directed, and stars Charlie Chaplin in what was to become his final role as the Little Tramp. It also marked the close to the silent screen era. In fact, MODERN TIMES, though not essentially a silent film in a sense, but more like some made between 1927-29 equipped with underscoring, sound effects and talking sequences. While silent movies officially ended by 1929, Chaplin kept that genre going with CITY LIGHTS (1931) and MODERN TIMES, demonstrating that silents is still golden. Chaplin, having come a long way from London music halls to American silent comedies dating back to 1914, not only developed his character but established the greatness in his work. Reportedly in production for two years, possibly more, Chaplin's ability to perfect comedy routines into a simple story like MODERN TIMES is amazing. Supporting Chaplin is Paulette Goddard, an movie extra since 1929, now awarded the opportunity in a major role opposite the comedy legend. Unlike Chaplin's other leading ladies of the past, Goddard is reportedly the only one to become successful, especially during the 1940s following her second pairing in Chaplin's first talkie as THE GREAT DICTATOR (1940).

The opening credits super imposed in front of a clock, indicates time as now, while its opening title that reads, "Modern Times is a story of industry - of individual enterprise - of humanity crusading in pursuit of happiness" indicates something else, a satire of the machine age, past, present and future, while in fact being one story with two related themes. The first revolves around two people of different backgrounds facing uncertainties with their present lives while the second half turns into a love story between these two same people who have fallen through hard times of the Depression. Before their devotion to one another occurs, their introduction begins with Charlie (Charlie Chaplin), a factory worker of the Electro Steel Corporation where he tightens bolts on moving belts. Unable to adjust to the advanced technology as a tester to a a new type of feeding machine, he acquires a nervous breakdown that has him committed to an asylum for a rest cure. Next introduction is on the Gamin (Paulette Goddard), a waterfront girl whose unemployed father (Stanley Blystone) is killed in a riot, leaving her two younger sisters to be sent to an orphanage while, after escaping from the juvenile officers, struggles to survive in the outside world. Caught stealing a loaf of bread by the law, Charlie, who has since been released from the hospital and struggling himself to find work, comes to her defense admitting he stole it. The lady and the tramp meet again in the patrol wagon that soon breaks down in an accident, leaving these two strangers to make their escape together into the world of uncertainty. Their uncertainty finally turns to hope when a cabaret owner (Henry Bergman) hires the girl to work as a dancer while Charlie is employed as a singing waiter. All's well until the juvenile division track down the girl to have her arrested.

For one of Chaplin's most admired films, there's no spoken dialog, at least from Chaplin's standpoint. Talking sequences comes from the factory president (Allan Garcia), who, at one point, yells at Charlie to "get back to work." Other sounds include a radio announcer's voice, police sirens, a barking dog and stomach churning. Chaplin, who preferred to keep his tramp character silent, did offer audiences the opportunity to hear his voice for the first time, in song, for the cabaret sequence, doing some double-talk rendition to "Titina."  

While MODERN TIMES has become relatively known throughout the years, it was rarely revived until Chaplin's reissued it some time prior to his death in 1977. Having attended the 1980 theatrical revival of MODERN TIMES at the Regency Theater in New York City where it played to a full house, I witnessed patrons, young and old alike, laughing hysterically and watching with amazement at many key scenes being the feeding machine sequence; Charlie roller skating around the department store blindfolded; and his method of feeding lunch to his employer (Chester Conklin) while stuck inside the machine's safety wheels. Considering MODERN TIMES to be not quite so modern by today's standards, it demonstrates how comedy never grows out of style.

Acquiring less pathos than CITY LIGHTS, MODERN TIMES is most memorable in the way it bids goodbye to Chaplin's world of silent movie making through its underscoring to the sentimental "Smile (Though Your Heart is Breaking"). MODERN TIMES, along with other Chaplin features and short subjects, were distributed on CBS Home Video in 1989 to commemorate Chaplin's centennial year of his birth. Though frequent revivals on various cable channels, ranging from Turner Network Television (1989), American Movie Classics (1991-2001), and Turner Classic Movies (as part of "The Essentials") assures how this and many other Chaplin films are to remain in view as long as there are those around to appreciate his art and style the way he originally intended it to be, through laughter and a little tear, especially during these modern times. (****)
Laughter was a scarce resource in America during the great depression, which lasted nearly ten years from 1929 to 1939. Unemployment was extremely high and many families struggled to get food on their dinner tables. The world's economy was in shambles and many countries were on the verge of war in 1936 when Charlie Chaplin released his silent comedic movie "Modern Times". Just as many of Chaplin's movies he directed, produced and starred in this comedic masterpiece. Similar to his past movies Chaplin uses his "little tramp" character to illustrate the different trials and tribulations many men and women where facing during that time. This is one of Chaplin's first political themed movies. "Modern Times" is a story in which still relates to our everyday lives. As technology improves there will always be people similar to the little tramp character of "Modern Times", just not as hilarious as Chaplin's antics. This hilarious movie follows the Little Tramp as he attempts to find means to survive. Once he is laid off from his factory he is mistakenly identified as a communist protest leader, and quickly incarcerated. The hijiinks continue for the Little Tramp within the prison walls, one such instance was when he mistakenly consumed cocaine during lunch. As soon as the cocaine hits his system lunch is over and the prisoners must return to their cells, while he is being transported from one room to another a prison break erupts and he is once again thrown into the middle of an intense situation and he has no idea. Unknowingly he breaks up the prison break and is award for his brave actions with a pardon, once again he is free man, and however he is still broke, hungry, and homeless. Determined to get imprisoned again where he will receive three meals and a place to stay becomes his number one priority. Instantly his dream to be imprisoned again comes true as a young orphan girl whom is also dearly struggling to survive is caught stealing and as she fled from the police she ran into The little Tramp. He quickly takes the blame for the theft and is arrested. Once released from jail he his re-introduced to the young girl whom had escaped the police. The two of them immediately create a bond between them and vow to do whatever they have to do to survive. Chaplin eventually returns to work at the factory, and even though he's really not good at anything he still makes a valiant effort. His factory career doesn't last long before the workers go back on strike; once again he's unemployed and hungry. He eventually gets a job as a server/ entertainer at a local café where his young friend is performing at. Similar to all his other professions, Chaplin is thrown into the hectic lifestyle that was prevailing at the time. The increased industrialization and modernization was a huge conflict for The Little Tramp, whom was incapable of adapting. Ultimately he finds his calling, without the intrusion of technology he perfects his natural calling of an entertainer.
Hilarious work of genius
Hilarious, touching, anarchic, revolutionary, realist, surreal, of its time, timeless - Modern Times is a multifaceted work of genius. When it's over and you recall the number of sight gags and magic sequences Chaplin has packed into 85 minutes, it is incredible - the conveyer belt and nut turning; Chaplin caught in the cogwheels; the feeding machine; the Red Flag march; the "nose powder"; the roller skating ballet; the waiter with tray caught up in the dance (my favourite); the gibberish song - and many more. Then there is his mixing of silent and sound techniques, making the best of both worlds, not falling between stools as some directors might have done.

Of course, there is also a political and social dimension; many of the scenes refer to the impact of technical advances, of bureaucracy, and of the then current depression, on the ordinary "little man". And it is the little man, the individual caught up in society's complex machinery, whom Chaplin championed. He may have sympathised with left-wing political parties and unions in so far as they supported ordinary working people, but Chaplin's essential beliefs are enshrined in the final "words" and shot, with him telling Paulette Godard, that she should keep smiling, they will get along, as they walk, a couple of individuals, into an uncertain future. Beyond politics, the individual has to rely on his or her own resources and spirit to survive.

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📹 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. 📀