🎦 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
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.

10/10.
2008-03-17
Good one
I love these black and white, old classics! Why does it seem like they did more with their films when they had less technology available to them? They don't have that ~Hollywood Magic~ that does their effects for them, it was all camera tricks and carefully strategized, one-chance-to-get-the-shot filmmaking and it is beyond impressive.

I enjoyed watching this! Full of cool and clever special effects and plenty of moments to make you laugh. Chaplin did such a good job of creating such a silly little character. The story was creative and fascinating, with imaginative concepts and energetic cinematography. It was a fun watch for sure. Delightfully absurd, yet it did give voice to the woes of unemployment and the voracious appetite of capitalism at the price of some disposable human equipment. Silliness with a sting. I recommend it!

8/10

Bye love you
2015-04-08
Hilarious comedy with a serious message
"Modern Times" is in my top 5 films, and #2 in my list of favorite comedies. Charles Chaplin is arguably the most talented human being, nevermind film maker, that ever lived. I first saw this treasure about 8 years ago, and I watched it again recently to make sure that it really WAS funny, and that I had not given it too much praise because it was simply a Chaplin film. "Modern Times" passed my test with flying colors. I laughed hysterically from start to finish. Each and every scene is innovative, well thought out, and executed with the genius that only Chaplin possessed. Among my favorite scenes are the "automatic worker-feeding machine"; the jail scene in the cafeteria when The Tramp accidentally sprinkles cocaine on his food, thinking it is salt; and the roller skating scene in the department store. No special effects or computer animation, just pure, simple, genius.

The storyline in "Modern Times" is purposefully naive, a trick Chaplin used time and again to bring a profound humanitarian quality to his films. Watching this film is comparable to watching a Warner Bros. cartoon, which coming from me is a sincere compliment. The level of physical comedy in "Modern Times" is on par with the masterful short films of Chuck Jones, Friz Freleng, and others.

Finally, as was the case with most of his later films, "Modern Times" is a serious social commentary. Its message is as relevant today as it was more than sixty years ago when it was released. In fact, it is arguably even more relevant today, and unless the world changes drastically in the future it will continue to be. "Modern Times" is essentially the story of a simple but extremely kind man caught in the traps of industrialized society. The opening scene, which compares a crowd of workers boarding the subway to a flock of sheep, is Chaplin's warning against standardization, mechanization, and other facets of life which rob men and women of their individuality. Chaplin always tried to speak for the downtrodden, because despite his enormous success and wealth, he never forgot where he came from. In the end, "Modern Times" is a reminder that no matter how bad things are, you can still smile. Charles Chaplin has made more people smile than almost any other, and his legacy of love and laughter lives on in his films. Its up to us to keep his legacy alive.
2000-09-10
Charlie!!!!!!!!!!!!!!!
This movie is so good,I laughed so hard that I cried and I tough that I was going to get a heart-attack!!!are these movies remade on DVD's?I really wont to buy them!They are the best!!! Please a beg you,if you don't see this movie,see it!!!!You shall be surprised,this movie is a classic,everyone must love this movie,it is a masterpiece.No one is so good as Charlie.The thing is,that it is so beautiful,that the movie has no special-effects.It is just a simple silent movie.And I really liked those!

He is the best.He is the biggest comedian.He is...Charlie Chaplin!!!!

CHARLIE CHAPLIN RULES!!!!!!!!!
2006-08-29
At the mercy of the machine
It's 1930s America. The unemployment rate is sky high, the strikes are constant, and the unions and police force are in an undeclared state of war. Adrift in the chaos, the Tramp (Charlie Chaplin) wanders in and out of jail, from one short-lived job to another, at the mercy of his nerves and his penchant for explosive accidents. During one of his many run-ins with the cops, he meets up with the gamin (Paulette Goddard) a poor but feisty patron of the streets. In love, in abject poverty, with nothing to hold onto but each other, they struggle to carve out a life for themselves, in spite of the odds and the brutal demands of a slapstick comedy.

Unlike City Lights, my favorite Chaplin film, the screwball moments in Modern Times began to feel extraneous, and had me glancing at my watch, waiting to get back to the meat of the story. I've always loved Chaplin, but loved him for his skill as a director and actor, for his uncanny ability to make beautiful women look natural and unadorned, and for his knack at presenting poignant satire without ever sounding preachy, and not because I find him especially funny. The childish romp through the department sore is whimsical, heartwarming, and more than a little forlorn, but less can be said of the Tramp's accident-prone attempts to aid the master mechanic, which, like many sequences in the movie, feels overdrawn, and a little superficial compared to the weightier material it supplants.

Sometimes I found myself wondering if the film could benefit from a hack job or two, yet it was never irksome enough to get between the movie and its reputation, for indeed, Modern Times is every bit of the classic it's purported to be. Chaplin was a man of great endings, and the ending of Modern Times – first its triumph, then its tragedy – leaves little to be desired. Also great are the opening scenes at the factory, which feel just as creepy today as they must have felt in 1936.
2008-09-07
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
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)
2011-03-28
My favorite Movie
Modern Times is the best of all Chaplin's movies. The others being City Lights, Great Dictator, Circus, Goldrush and Pawnshop. Modern Times is a special movie. Genius written all over in it. When Chaplin is doing comedy, I cannot laugh, rather there was an air of amazement at his mesmerizing performance, a thing of greatness not witnessed ever before. Modern Times had many exceptional scenes and my favorites include: The climax dance and the events prior to it where he plays rugby with that roast duck, relieving the ship from the dock, blindfolding himself and skating in a danger zone, The dream scene with Paulette in which he had grapes and apples grown inside his home and a cow that milks himself and, the test he undergoes with the food-machine.

Rollie Totheroh's photography is masterful. The movie is my all time favorite and whenever I was not feeling well I'll run it in my DVD.
2006-09-26
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
Modern Times
Modern Times exemplifies Depression-era America; a stream of disappointments, tattered dreams and missed chances that attempt to drag the characters down, but are defied by the ever buoyant hope of the American Dream.

Scenes from Modern Times aptly capture the mood of America in the late 1930's; men superimposed by sheep shuttled into a waiting line, workers being pushed to go faster and faster, eventually consumed by the very machine they deigned to control. Yet elements of optimism shine through the weary film-Chaplin and his gamin dream of a home of their own, with cows ready to be milked and steaks crackling on the stove. Though their reality-a depilated shack "Is no Buckingham Palace" the two are able to sustain themselves on the "American Dream" of a more secure, fruitful life.

Several aspects of the film called to mind a 1984-type reality (Though 1984 was written in 1949, 13 years after the birth of Modern Times) including the large two way screen in the factory, allowing the owner to be "Big Brother" to the workers as well as the police brutality and Ford factory line of men and machine.

The film ends appropriately; dusty and bruised from pursuit, hardship and hunger, Chapin and his orphan girl head of hopefully into the sunset, convinced of a better reality awaiting them on the sun's return; a hope shared by many in America's Modern Times
2007-05-24
📹 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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