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Buy Modern Times 1936 Movie Online 1080p, 720p, BRrip and MOV
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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Always modern
Somehow, this very old film is particularly modern today and the exaggerations are not really sooo extreme compared with the real world. The humans, enslaved by the machines and by those who control them, become more and more small and insignificant, like the hero of this very funny comedy (one of the best in the history) that speaks about very ugly things in a very amusing way. The Tramp, is not a tramp in the beginning. He has a real job in a modern factory, that almost kills him, as the factory becomes more and more modern. He becomes a tramp when he stays without a job. Picking up red flags in the street can get you in a big problem with the police, who are there to serve and protect the rich. An honest man can stay honest even in prison and get benefits from this. Even a new job. But honesty is not really enough. Trouble is always around the corner and modern society doesn't permit you to make a new start easily.

Love gives you wings, or at list hope and the power to continue. A beautiful girl of the streets is more than our hero is asking for and he is ready to do whatever necessary. Even put his safety in danger to take care of her. And she, appreciates this. In the end, when everything is lost once again, all they are left with, is each other and that's all they really need.

For the first time is his cinema career, our Tramp will find a girl that will stick with him and support him. (Chaplin obviously felt with Paulette Goddard something that he didn't feel for his earlier women, and I don't blame him).

And this story of modern times, like all of Chaplin's films will end up with an optimistic feeling in a unhappy end. Never is everything lost.

With obvious inspiration from Fritz Lang's "Metropolis" and maybe René Clair's "À nous la liberté", it made the strongest point about THE where we 're going, in all the cinema of the 30's (I think) 8) and with only Marx bros' "Duck soup" being able to stand anywhere close to it. Maybe the most complete, funny and mature creation of the best comedian of the seventh art, with a lot more than a non stop production line of great jokes to offer. If made without a single joke, this film would still be one of the greatest of all of our modern times.
A Brilliant Allegory for Sound (Technology Advances) in Film
Modern Times is a hilarious, and equally brilliant Formalist Film about the rise of technology in the world, and the American dream. Directed, written by, and starring Charlie Chaplin. The film boldly made statements that at the time would have been, very controversial, and remain relevant today. However, the film is at its most impressive when one considers the care, and shear brilliance that went into the making of this film.

It seems straightforward to call Modern Times a Formalist Film, the ideas take clear precedence, while the narrative is very character driven. To further that, it would seem the main purpose of this film is to make a statement, technology and the business like approach of filmmaking are ruining the art form, however it's ingeniously hidden behind hilarious humor. The fact that the statement is so well hidden makes it all the more powerful when you realize what it is. For instance people who staunchly disagree with that opinion could laugh at, and enjoy this film without even knowing the film is making this statement.

The motifs are ones that don't age poorly as some may. Chaplin chose such vague areas, that we can watch today and relate many arguments to modern day film issues. For instance the technology argument is still present today in the form of "Digital Filming v. Film Reels", or "Computer Generated Images v. Practical Effects.", etc., both modern arguments hold similar issues with the "Talkie v. Silent" argument of the 1930's. Chaplin consistently shows motifs such as the outcast being exiled for a more uniform approach (the black sheep imagery helps parallel this), the overly complicated, often dysfunctional way Chaplin sees technology , or his pessimism towards society, through a showing of eternal optimism. It's similar to when a filmmaker makes you empathize with a character you've grown to hate. All of these motifs are subtly hidden under hilarious gags, so they don't feel preachy, or heavy handed. This approach requires care, and talent, some of the best directors today can't even send a message as subtly as Chaplin did. Part of the reason Chaplin did so well hiding his views was his ability to, for the most part argue his point objectively. By that time colors were being used to influence audience opinions, red made audiences feel uncomfortable, while blue emphasized happiness, Chaplin avoided any colors. Not only did Chaplin avoid coloring his film, he showed the contrasting views, something most filmmakers wouldn't do. It's the brilliant subtlety, and balance that makes Modern Times such a great piece of art. Chaplin carefully crafted a film with a message, but made his film enjoyable for all, which is a true accomplishment. It's truly amazing to see a film that can send a message through the opposite viewpoint, and I can't stress how truly brilliant it is.
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.
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
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.
My Second Charlie Chaplin film
Just like City Lights, Modern Times utilises Charlie Chaplin's comedic skill. Being a silent film, all of the humour comes from physical comedy and slapstick which is where Chaplin shines. The technical skill that went into getting certain shots and sequences was just incredible, especially the sequence where Chaplin is sucked into the factory machine and has to navigate his way around all of the different cogs.

This notwithstanding the film isn't perfect. Like City Lights, Modern Times didn't hold my interest throughout. I did get a little bored at times.

Read my full review here:
Chaplin Sticks to his Plan, Makes a Silent Film, in 1936 yet! It sure must be Great to own your Films, Studio and be a Founding Partner in the UNITED ARTISTS Corporation!
A Film by Charles Chaplin as Writer,Producer,Lead Actor,Composer of Musical Score. with Paulette Goddard,Henry Bergman,Tiny Sandford,Chester Conklin,Hank Mann,Stanley Blystone,Allan Garcia,Richard Alexander, etc,etc......

Mr. Charles Chaplin saw himself as a sort of "Champion of the oppressed, the Figting Hero of the Little Guy",a sort of real-life Charles Foster Kane; albeit one with his own motion pictures to use, rather than the mythical newspaper, The Daily Inquirer. To a high degree, this was largely true.

His Little Tramp character was indeed a reflection of all of the countless anonymous, ordinary folk who go about their business, day in and day out, looking for no help from government or anyone else. Charlie's character is much more than an image of a man in a story. He is a sort of symbol, often times functioning like an editorial cartoon.

Chaplin was also fortunate to have been a man of good business sense, as well as a singularly gifted Actor/Artist/Director/Writer/Composer. He always had a keen interest in Political and Socio-Economic systems, including the then fashionable types of Socialism in the world. This favourite party-time talk fodder was little more than that, in that he was never too willing to open up his check book in order to aid either the Fabian Socialists or Joe Stalin's Gang or whoever else. None the less, this interest would help to categorize him as "an Undesirable Alien", who was refused re-entry into the USA in 1952. As a further indication of his Business Sense, he had the re-release of the gems from his vault coincide with his triumphant return to the United States after 20 years exile.*

That's enough of that business. We've all heard it before. Let's get on with the examination and evaluation of this film, this MODERN TIMES (1936).

Chaplin definitely was also a champion of another cause, almost one at that. This would be the Silent Movie form. Here was a movie type, previously the only kind, but by now, the mid '30's, that was now old hat, passé, outmoded, old fashioned and all but deserted. Yet Charlie made fine use of the art form of the silents twice in what we will call the "Post JAZZ SINGER (1927) Age". Twice in the decade of the 1930's a Chaplin Feature was made as a Silent, the sound track being used for musical score and some sound effects.

In this MODERN TIMES the period viewed by our 1972 audience was then nearly 40 years old. It could be even older in a sense; the period in which young Mr. Chaplin formed his attitudes and opinions would set this story,attitudinally,back to a Pre-World War I society.

So, we saw a serio-comic look at Industrialization, Labor Relations, Economic Boom, Governmental "assistence", Red Tape and uncontrollable human emotions of true love and despair(leading to suicide!). In presentation of such matters, the Writer/Director was wise in spreading all the "bitter pills" throughout the story.

And the scenario itself is slowly developed. The elements of the story line are given plenty of cushioning. The plot is unfolded in a series of extended situations, using different circumstances, changing settings. It is almost as if there were 5 or 6 2 Reelers contained within this one Supersized Comedy.

Whereas this is a Chaplin homage to the Silent Screen, it was also their Swan Song. Sir Charles realized that no one, not even the Little Tramp would or could delay the eventual inevitable for very long. Here are several instances of dialog on the sound track. Other than a fine comical song an dance by the Little Tramp ,the other 3 or 4 occasions of sound all originate in a mechanical devise, Radio, Closed circuit television or phonograph record.

So MODERN TIMES bids a fond farewell to not only the silent, but to a style of writing. In his previous films, the rule of thumb was avoid the use of Proper Names for the character in favor of only the descriptive terms of the characters in the story. Hence, we had terms like "a Tramp", "a Gamin", "the Mayor", a Drunk", "a Millionaire", "a Factory Worker", etc., etc. (For some reason "Tiny" Sandford's character in MODERN TIMES rates a name, "Big Bill"!) Chaplin Features made after this generally assigned full names to their main characters, e.g., Henri Verdoux-Charlie's name as the main character in MONSIEOUR VERDOUX(1947).

So we, of the Post War Baby Boomer crowd were introduced to Mr. Chaplin's work. This was in a big way utilizing a whole season of screening most of his top features,rather than the viewing of an occasional old, butchered up Keystone Short, sans title cards. This was the story on early Television, and mainly on kiddie shows.

The release schedule wenta lika thisa: MODERN TIMES(1936), CITY LIGHTS(1931), THE GREAT DICTATOR(1940), MONSIEUR VERDOUX(1947), LIMELIGHT(1952), A KING IN NEW YORK(1957) and the compilation, THE CHAPLIN REVUE(1959)**. After this series was screened, one could be properly classified as an expert in Chapliniana.

As a sure sign of change, Chaplin's Signature Ending of Walking Off, Down the Highway of Life, features a companion. The Little Tramp is joined by the Gamin(Paulette Goddard),as an offering of Hope, but forever altering the Chaplin Film.

NOTE* The invitation was from the Academy of Motion Pictures Arts & Sciences. They gave Sir Charles a Special Oscar for Lifetime Service to the moving picture business. It was at the 1972 Oscars seen on ABC.

NOTE** The film THE CHAPLIN REVUE(1959) was a fine compilation of 3 of his short subjects from his tenure at First National Pictures. It consists of SHOULDER ARMS(1918), A DOG's LIFE(1918)and THE PILGRIM(1922). Added footage is shown of super sped up construction of Chaplin Studios, mock "Rehearsing" for the Camera's benefit and original musical score and crisp narration by Mr. Charles Chaplin, himself!

This film is highly recommended as a Chaplin Primer for anyone's initial Chaplin experience.
It will probably be close to being useless reviewing a classic film--especially this masterpiece of Charlie Chaplin, the best comic genius who ever lived.

The movie brings back some memories of my theater class under another genius, Professor Anton Juan, who is probably already a legend in the Philippine Theater history. Sir Anton required us to watch Modern Times in order to get insights about basic acting movements. Back then in 1998, it was extremely difficult to find classic films because there weren't any pirated DVDs available. Good thing, a classmate found a video rental shop where classic films in VHS were available to be let.

We watched the movie in White Plains, at the house of one of my classmates. Prior to watching the film, we haven't seen any single film by Chaplin. We knew who Charlie Chaplin was but we didn't know any of his works. He was just that funny tramp with a funny mustache known around the world.

Watching Modern Times was a revelation for me. It was laugh-out-loud funny yet picturesque and thought-provoking. The film depicts the plight of Man in the modern world of industrialization, where men are like robots literally being winded by gears of monstrous machines or droves of sheep moving side by side aimlessly without a shepherd.

It is a story of a factory worker who became jaded by the monotony of his job, tightening the screws of some metal plates. The dreariness of his life messed his sanity and he was sent to the hospital after attacking people with his monkey wrenches and tools. After being released, by pure unlucky accident, he was put into prison after being mistaken as a leader of a strike. Once in prison, he felt that it was much better to live there than out in the streets where people lead miserable lives, jobless, hungry, and desensitized. In and out of prison, he just survived--until he met a woman whom he felt a connection with--then, he started to live.

Chaplin brilliantly explores and satirizes the greatest burden of Man: work. As time flies by quickly, Man finds himself unable to keep up with everything happening around him. He feels lost and defeated, realizing how small and unimportant he is in the society.

Chaplin's remedy to this universal problem is simple: positivity. For the simple tramp who always sees the bright side of life thrives and survives. The world is one big comedic act.

More than any other film, Modern Times was the first film that made me appreciate the language and beauty of film. It made me a film addict, rummaging through various DVD kiosks, looking for classics, searching for beauty.

In our modern times, we are trapped in a fast-paced world, jarring with montages and mountains of images, issues and crises that have been unthought of in the past centuries. But as Charlie Chaplin delivers it plainly at the end of Modern Times, the only way to live through all of this is just to... smile.

Chaplin's masterpiece
This is absolutely the finest film Charlie Chaplin ever made-which, considering the overall quality of his work, says a great deal for the quality of the film. Genius is a much over-used word, but in Chaplin's case, it's use is apt. This is one of the classics of cinema and one of the greatest films ever made! The scenes in the factory are hilarious. You have got to see this film! Most joyously, totally and highly RECOMMENDED!!!!!
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.
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