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Buy City Lights 1931 Movie Online 1080p, 720p, BRrip and MOV
Drama, Romance, Comedy
IMDB rating:
Charles Chaplin
Virginia Cherrill as A Blind Girl
Florence Lee as The Blind Girl's Grandmother
Harry Myers as An Eccentric Millionaire
Al Ernest Garcia as The Eccentric Millionaire's Butler (as Allan Garcia)
Hank Mann as A Prizefighter
Storyline: A tramp falls in love with a beautiful blind girl. Her family is in financial trouble. The tramp's on-and-off friendship with a wealthy man allows him to be the girl's benefactor and suitor.
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HQ DVD-rip 720x480 px 1180 Mb mpeg4 1753 Kbps avi Download
DVD-rip 576x416 px 701 Mb h264 1184 Kbps avi Download
A great movie, as powerful now as ever
I've always loved Chaplin- "Modern Times" has long been one of my favorite films, and I enjoyed "The Circus," "The Gold Rush," "The Great Dictator," and "Monsieur Verdoux." I can easily see how many people consider "City Lights" his masterpiece. It's hard to even speak rationally about this movie. It's very layered, but also very simple, and that's what I think defines a great film.

The plot is easy to describe: the Little Tramp befriends a blind flower girl who mistakes him for a millionaire. Then he saves a drunken millionaire from suicide and uses his money and car to make the flower girl think he's rich. However, the millionaire sobers up and forgets the Tramp; the flower girl desperately needs money to pay the rent; ultimately, after a series of comical attempts to earn money, the Tramp receives $1000 from the millionaire, which (after being mistakenly branded a thief) he gives to the flower girl, before being sent to prison. He gets out months later, the flower girl has had an operation to restore her sight, and as he stumbles about outside her new flower shop she gives him a flower, recognizes him, and the film ends.

No complex subplots, no dialogue. Just a pure and simple story about a Tramp and his love. Chaplin possesses perhaps the greatest gift for changing the audience emotionally: the movie is never blunt or outrageous; I laughed out loud several times, but it wasn't explosive laughter. And I also very nearly cried at several points. When the Tramp finds he's falling in love with the flower girl he's trying to help- that made me cry. It's so touching, how the Tramp's weaknesses are his strengths. If Chaplin is a communist, then I'm a fellow traveler. The Tramp has nothing to give but his heart and his life. He goes through hell and comes out smiling. Sure, filmmakers today could learn a lot from "City Lights," but so could people today: if you are human, you can learn from this movie.

The movie is called a "romance comedy," and that's what it is. The Tramp voluntarily undergoes several ordeals for the flower girl, but he's also subjected to a number of funny situations: the nightclub party that showcases the Roaring '20s (how he drunkenly struggles to find a girl to dance with), the millionaire's attempt to get back home ("Am I driving?"), and of course the classic boxing match. The Tramp is the ultimate underdog: he can never win, but there is beauty is his failure. He finds happiness in life without going along with society's standards. And he gives us happiness, too, and a little inspiration.

Then, of course, there is the ending. I love Chaplin's endings. The last title card in "Modern Times" ("We'll get along") and the final shot of "The Circus" (makes me choke a little just to think about it) are both great examples. This ending is overflowing with tenderness. The flower girl loves her mysterious savior, and has said before that money isn't her greatest concern. But then the Tramp shows up: filthy, pathetic, and right out of jail. She laughs at him and teases him a little good-naturedly. He's a little reluctant to come to her- he stands back a little. Then she takes his hand and suddenly realizes the truth. She confirms it by feeling his arm and then says, "You?" and he asks if she can see now and she says, "Yes, I can see now." Their expressions convey just enough for the viewer to understand completely, without being entirely able to say what they understand. You can read the thoughts in her head, and then the camera turns to the Tramp, and his face is a heart-broken, heart-fixed, strange, sad smile. The screen goes black, it says THE END, and the music continues with a flourish, ending on a bittersweet note. I think the ending lets us know that these are real human beings in front of us, not just actors. They have real lives, and those lives can be changed, for better or for worse. It's absolute pathos. You can't be entirely the same after watching "City Lights."
Chaplin was a film genius
I join with many others here saying that this is one of the greatest films ever made, and in my all-time Top 5. It is a testament to the genius of Chaplin that he has made three "classics" - City Lights, The Gold Rush, and Modern Times - that people argue about to this day which is the greater film. I will say that Modern Times is the most accessible of these three to the current film-goer because it's the one which uses sound most extensively, and that The Gold Rush has more classic comedic bits, but for me it's always been City Lights, as this is the film that strikes the best balance of slapstick and pathos together, where you're laughing one moment, and then greatly moved in another.

I was fortunate that I first saw this movie in a film class in college. I am embarrassed to say that all I knew about Chaplin was his comedic shorts, so this was a great surprise to see City Lights. I was fortunate however, in that I had no idea what this film was about, and in what high esteem this film was held. The ending is moving and tugs at the heart. I don't know if it's the greatest ending I've ever seen in a movie (I might have to give that to Chinatown), but I love it and the movie.

I don't know if the PBS Special "Unknown Chaplin" is floating around anywhere on video or DVD, but it's a treasure chest of surprises for City Lights fans. In it, they unearth many of the film outtakes, particularly the number of shots it took to convincingly make the audience understand why the Blind Girl thought the Tramp was a wealthy man. There's also interviews with Virginia Cherrill and Georgia Hale, and how Chaplin didn't care for Cherrill very much, and wanted to replace her with Georgia Hale after almost the entire film had been shot. They even show the final scene with Georgia Hale when she gets her sight back, and wants to give a flower to the Tramp.
Both Hilarious and Touching
One of my biggest movie-related regrets that I hadn't seen a single Charlie Chaplin film. The director and actor has received massive acclaim, and is still considered today to be one of the world's greatest directors. And yet, I had not seen any of his films. In fact, I had seen relatively few silent films at all. However, if Chaplin's other work is even nearly as good as City Lights, I will not hesitate to see his many other films.

Often considered one of Chaplin's best films, City Lights is the story of a young tramp (portrayed by Charlie Chaplin), who befriends a drunk millionaire. The tramp uses resources provided by the millionaire to give gifts to a young, blind girl, whom the tramp has fallen in love with. Things are a bit complicated, though, as when the millionaire is sober, he does not remember ever befriending the tramp.

Due to my limited exposure to films of this era, this review may seem a bit more pointed towards the art of silent film in general, as opposed to this specific film.

At times, City Lights plays like a big cartoon. Slap stick and quirky situations saturate this film, insuring that there is never a dull moment. This is not sophisticated comedy, and it does not take a sophisticated mind to enjoy. In fact, this is likely one of the reasons for City Light's success; it's accessibility.

Chaplin arranges a large number of very elaborate humorous sketches. A masterpiece in comic timing, City Lights is an absolute delight to watch. There are dozens of memorable scenes. If you're not smiling at any given point during the film, you're probably laughing.

Actually, I take back what I just said. For even though City Lights is a comedy, it's also a romance. Very touching, and even tear-jerking at times, City Lights proves that it's just as effective as pulling heart strings as it is at tickling funny bones.

The romance succeeds for a number of reasons. For one, we feel invested in the characters and their story. The film is only 82 minutes, which doesn't leave much time for the characters to be developed, and because City Lights is a silent film, only important lines are shown as subtitles. Everything else is silent. And yet, the characters are defined and layered, some more subtly than others.

The romance also works due to the excellent acting. Charlie Chaplin quite literally makes this movie. His both hilarious and touching performance as the tramp is sincere and humorous. Virginia Cherrill portraying the blind girl is another great performance, and Harry Myers effectively portrays the eccentric millionaire.

I also believe the romance actually benefits from not having dialogue. I say this dialogue is the number one thing that kills a good romance in a film. You could have the best actors and actresses in the world, but with bad dialogue, comes bad romance. By eliminating dialogue, City Lights also eliminates this common issue in modern film that's not just limited to romantic flicks.

The score (also composed by Charlie Chaplin, as well as Arthur Johnston) is delightful. Boasting a large number of catchy and clever tunes, the score is both diverse and entertaining. Music has a much more important role in silent films than in today's "talkies," but Chaplin and Johnston have no problem here.

Not all the sketches work as well as others, and the heavy slapstick may not meet everyone's tastes, but City Lights is a brilliant film that succeeds on both an emotional level, and a comedic one. Funnier and touching than most of today's films, City Lights isn't perfection, nor is it without flaw, but the sincerity and simplicity in which the story is presented is simply beautiful. I look forward to watching more of Chaplin's films in the near future.
Sublime Chaplin Masterpiece
Chaplin was a unique presence in the history of the early cinema. Coming up through the ranks, he gradually achieved a god-like stature, being awarded total control of every facet of the production.

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

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

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

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

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

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

Sometimes great enterprises require considerable hardship to forge them into being. The greater the achievement, often the greater the challenge and period of endurance. Whatever the case, we are the appreciative recipients of this masterwork, which takes its place besides "Modern Times" and "The Gold Rush" as one of Chaplin's consummate expressions.
Unashamedly Sentimental---Works for Me
I had the pleasure of seeing a screening of this film (silent, though it came out well into the sound era) with live music accompaniment by the Chicago Symphony Orchestra. As you can imagine, this added a tremendous amount to the overall effect of the movie, which I had seen once before on video. This is Chaplin at his most unabashedly sentimental, but darn it if it doesn't work like a charm. This feels the most dramatic of the Chaplin films I've seen, with the most "plot," but that doesn't mean there aren't wildly funny bits, like Chaplin's brief stint as a boxer. I don't cry especially easily at movies, so the ending didn't have me in tears, but you're excused if it has that effect on you, and you might want to have a handkerchief handy just in case.

Grade: A
Orson Welles once cited as his favorite movie Charlie Chaplin's tribute to the art of body language and pantomime, "City Lights."

"I was determined to continue making silent films," Chaplin recalls in "My Life in Pictures" of his decision to make a silent four years into the talkie era, "for I believed there was room for all types of entertainment." "City Lights" features Chaplin's musical composition and various sound effects, but no dialogue. Chaplin opens the film with a lampoon of talkies: at the unveiling of a Greco-Roman stone statue, the dignitaries' speeches are heard only as unintelligible squawks.

Smitten by a flower-selling Blind Girl (Virginia Sherrill) who has mistaken him for a dapper gentleman, the Little Tramp takes on odd jobs (including a prizefight, shown in a masterfully choreographed sequence) to raise money for an operation to restore her vision. After the Tramp intervenes to prevent the suicide of an alcoholic tycoon, the tycoon befriends him; but it is an on and off friendship, as when sober the tycoon doesn't even recognize the Tramp. Despite a series of mishaps, the Tramp pays for the operation. But in the process he lands in prison. On the Tramp's elease, the Blind Girl learns the true identity of her benefactor in one of the most rarified scenes in cinema.

"Tomorrow the birds will sing"
The victory of the sound picture over the silent was a speedy and decisive one. The first full-length talkies were released in 1928. By 1929 theatres were being forced to convert to sound in order to stay in business. By 1930 silent film production by the major studios was completely discontinued and the medium became generally viewed as an anachronism. But in 1931 a new silent picture was released that, far from being an embarrassing failure, became the fourth-highest grossing picture of the year, being even more popular than such classics as the Bela Lugosi Dracula and The Public Enemy. The picture was City Lights and its producer, writer, director, editor, composer and star was Mr Charlie Chaplin.

Chaplin was of course primarily a comedian, and his humour was of broad appeal, but audiences of the time were not exactly starved of easy comedy. The Marx Brothers were making great strides on the verbal quipping front, and the ever-popular Laurel and Hardy had made a successful transition to sound. What makes Charlie stand out, and what gave him a level of accessibility that allowed him to continue with his slapstick antics well into the sound era, is his equal devotion to story which allowed him a scope for social commentary, empathetic characterisation and deep poignancy. Of all Chaplin's silent pictures, City Lights is probably his least memorable in the funny stakes. The number of classic gags here is fairly small. Not since The Kid a decade earlier has Chaplin given story so much precedence. City Lights is riddled with coincidence and plot contrivance, but it's a tale of such beauty and sincerity that this does not matter. Within this story, the comedy becomes functional, often serving to puncture a schmaltzy moment before it becomes overdone. Ironically it is the occasional forays into slapstick that help keep City Lights real.

As if to snub the talkie, City Lights is a remarkable achievement in complex visual narrative, even only occasionally relying upon title cards and then often only as an embellishment to the more comedy-driven moments. Most plot points and character traits are implied rather than stated, which gives the picture a continual smoothness – another thing that would have gone down well with audiences glad to see the back of the intrusive title card. Out of necessity Chaplin's technical approach is more overt than his usual. He often cuts to a close-up to give us a necessary reaction, and there are even some whip-pans in the scene where he and the flower girl first meet, but all of this is in keeping with the rhythm and tone of the picture. Those whip pans after all reflect an abrupt emotional moment, and are in no way a blatant or showy manoeuvre.

But what really makes City Lights work, what makes it connect, is the man himself on the screen. Those additional close-ups, once a rarity for a man who acted mainly with his body, now show off a capability for intense facial acting. An older, more meditative Chaplin may have been keeping the traditions of silent cinema alive, but his own career trajectory was entering new ground, where emotional expression was increasingly intimate and personal. The result is profoundly moving.
Looking for love...and happiness
In the beginning you find our poor little tramp sleeping on a statue.Then he runs into a suicidal and drunken millionaire, whose life he saves.And what would our poor little tramp be without love? Even poorer and more miserable.The woman he falls for is a flower girl, and she's blind.And this blind flower girl thinks the tramp is a rich man.But he's only rich at heart.He wants to help the girl, he wants her to see.But if she does see, would she love him? Our poor little tramp? Nobody is better at combining tragedy and comedy better than Charles Chaplin was.This is a fact I have mentioned in previous Chaplin reviews and this is something all the movie lovers have probably noticed.City Lights (1931) is one great example of those movies where comedy meets tragedy.Take the scene with the Eccentric Millionaire for example.He is there ready to jump into the water when our little tramp wanders to the spot.Soon they're both in the water.Comedy meets tragedy, laughter meets tears.I could mention plenty of other examples but you can see it all by watching this movie.If you already have, watch it again.It's a true classic that will not age.And the acting performances...they're all superb.Besides Chaplin there is Virinia Cherrill as A Blind Girl.She is so beautiful...such a good actress.And then there's Florence Lee as her grandmother.Harry Myers is fantastic as the moody millionaire.And so is Al Ernest Garcia as his Butler.The Keystone Kop Hank Mann plays A Prizefighter.The big man Henry Bergman is known from other Chaplin films also.Here he plays the Mayor/Blind Girls downstairs neighbor.Jean Harlow can be seen as an Extra in restaurant scene.The original music made by Charlie himself is masterly.Chaplin didn't want to give up silent pictures.And why would he have? Things could very well be told without words.He did use some simple sound effects in this film and then Modern Times (1936).City Lights is filled with memorable scenes like when Charlie goes boxing.And when he goes dancing drunk is hilarious.And let's not forget the ending.The ending is beautiful.
Tingling spine and an unprecetended movie experience...that's what City Lights is.
If I had to choose which departed film-maker I would want to meet, I would choose Charlie Chaplin. I think he is the greatest and most determining artist in the entire cinema history. City Lights is my personal favourite. It is so innocent, so warmhearted masterpiece, that fills me with zest for life, kindness and gives meaning to carry on living! Chaplin, as usual, is the unbelievably altruist Little Tramp who falls in love with a beautiful blind flower-girl.

I read some other comments which said it was the greatest last 5 minutes in the cinema history. It was indeed, but it also was one of the funniest 86 minutes for me. Almost all the jokes landed even after 76 years... I can only praise the highness of Charles Chaplin: the Great Director, Stunning Producer, Outstanding Composer, Marvellous Editor, Brilliant Actor. All in one fantastic person.

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