"City Lights" - Film Review

At the time of City Lights’ release, there wasn’t a film character quite as ubiquitous or iconic or well-received as Charlie Chaplin’s Tramp. That was a stroke of luck because silent films were being made less and less by studios in favor of sound features at the time of its production. Chaplin, however, with his independence at United Artists, decided to push on ahead, and in turn he created one of his finest films.

The Silent Film Era is a time period of cinema frequently bordered off; refused to be watched by some people who fail to see how genuinely entertaining and memorable these films can be.

Chaplin has such a command of the language of cinema here in City Lights. He uses each shot to articulate everything he wants to say so precisely that it painstaking and impressive (Chaplin was a noted perfectionist. He did countless takes of shots when most directors at the time usually did just one). This is all the more impressive because Chaplin had next to no diegetic sound to elaborate on any point he wanted to make.  

Yes, on the surface this is just a series of gags carried by the through line of the Tramp’s affections and doting for a blind girl (Virginia Cherrill), but these gags are used purposefully to not only be highly amusing but to move forward the plot in interesting and meaningful ways. 

Not only that but they’re incredibly funny and intelligently crafted. Chaplin beautifully stages these scenes so they feel effortless in spite of their intricacy.  

The story is undeniably sincere and sweet. The Tramp falls hard for the blind girl who sells flowers and tries to win her love. After befriending a millionaire (Harry Myers), he takes advantage of his friend’s wealth to trump himself up to be more than he is. 

Much has been said about that final scene, and rightfully so. It’s beautiful and touching scene that ties up the film fantastically.

City Lights is possibly Chaplin's best film, and it's undeniably one of silent film's greatest works.

Grade: A