In my review of Modern Times, I said that it was part of Charlie Chaplin’s “Big 3” along with The Gold Rush and City Lights. Since I have already reviewed The Gold Rush as well—and, in that review, admitted that I had great desire to tarry in Chaplin’s world for a little while—I would like to now provide a review of Chaplin’s best picture, City Lights. Continue reading →
I have decided that as long as I am here, I will stay here and enjoy it.
For me, after all, Charlie Chaplin is like Paris. He’s that thing you’ve always heard of and can recognize in a heartbeat even if you’ve never really seen it for yourself. He’s the one who’s always been there; not a single person alive today knows of a time when he wasn’t. He’s the icon that transcends just one country; he belongs a little bit to everyone. Amid a Hollywood full of Chicagos and Houstons, Chaplin is the La Ville-Lumière, the City of Love and Lights. It is only fitting, therefore, that he made such urban films. With that being said, his personal favorite film, and the one which is most universally praised, is The Gold Rush: his most rural. Continue reading →
Please read this list in conjunction with my chapter on Auteur Theory. The list attempts to reconcile a given director’s overall oeuvre, cinematic contributions (to theory and culture), and my personal taste. In some cases, I considered popularity; there is something to say about a directors ability to garner an audience. You will see that a good number of usual favorites do not make the cut in this list. That is because a lot of these, unfortunately, don’t live up to my standard. Continue reading →