Released in 1931, City Lights is a comedy-drama featuring synchronized sound, written, produced, directed, and starring Charlie Chaplin. Considered by many to be his Magnum Opus, it follows the misadventures of Chaplin’s Tramp as he falls in love with a blind woman (Virginia Cherrill) and develops a turbulent friendship with an alcoholic millionaire (Harry Myers).
A Last Hurrah For The Silent Movie
Chaplin initially envisaged City Lights as a silent film. In Hollywood at the time, the silent movie era was coming to a close. Reluctant to fully embrace the talkies, Chaplin decided to blend the old with the new. As he was the producer, he had free reign to do what he wanted. Technically, the film is a crossover, as the soundtrack has synchronised music and sound effects but no spoken (legible) dialogue. Instead, the dialogue was presented on intertitles. It all sounds a bit jarring, but when you watch the movie, everything just feels natural. You know what the characters are thinking without them necessarily having to express things vocally. There are times you will forgot you are watching a silent movie, and you can understand why Chaplin didn’t think it was essential to adopt spoken dialogue into his movies.
City Lights was also the first time Chaplin composed the film score for one of his movies. And what a debut it was. The instrumental music escorts the viewer through the movie and feels every bit as important to the overall experience as the actors themselves. From the quiet romantic moments to the crashing crescendos during the more frantic scenes. It all comes together to help tell the story.
While Chaplin preferred his films to have live sound, by the 1930s, most theatres had gotten rid of their orchestras. He struggled with the professionals who were hired to compose the score, so took it upon himself to do it. Chaplin said the intention was to have a score that would translate the characters’ emotions through its melodies. I don’t think anyone would argue that he pulled that off with flying colours. Chaplain’s next movie, Modern Times, would also feature very little dialogue. It wasn’t until the release of The Great Dictator in 1940 that Chaplain fully embraced the spoken word in his movies. There is a definite charm to both styles. The lack of dialogue helps keep the focus on the comedy. But there’s no doubt that The Great Dictator enabled Chaplain to bring his storytelling to the next level.
The Boxing Match
One of the highlights of City Lights has to be the scene where the Tramp takes part in a boxing match. This comes about when a boxer convinces him to fight in a rigged match and split the prize money. Desperate to raise funds to help his beau with her money struggles, he accepts. However, the boxer is replaced at the last minute by a no-nonsense fighter. There are ominous signs before the fight, with the Tramp realizing he has signed up for far more than he bargained for.
Hilarity ensues, with some of the funniest choreography you’re ever likely to see. It’s a chaotic scene, with slapstick antics abound. The timing of the movements between both boxers and the referee is brilliant. It feels more like watching a dance take place, than a fight. The performative movements of Chaplin are extremely impressive. He somehow manages to portray the character of the Tramp as something close to a wily boxer. Accompanied by the pounding soundtrack, it’s breathless stuff.
Alas, he eventually gets knocked out. But not before putting up a good fight and winning the hearts of any viewers who had not already fallen for the lovable clown.
What The City Lights Means to Us
In my Greatest Acting Snubs list, I had Chaplin from this very high but in actuality, he could’ve dominated the list. He was a genius that upped the ante with each movie. He wasn’t just trying to outdo himself but to compete with his contemporaries, who were the finest comedians of all time. Each one of them was a god of gags (in any other context, that would sound filthy) and if Chaplin wanted to remain king of the mountain, he had to end the fight for all time. He did this by focusing on the romantic side of things instead of the physical comedy. The result is the best film of that era. What makes City Lights so remarkable is how it balances its tones. Chaplin effortlessly shifts from hilarious set pieces—like the chaotic boxing match—to deeply moving moments, such as when the flower girl finally realizes who the Tramp really is. The final scene, where she touches his hands and understands the truth, remains one of the most poignant and enduring moments in film history. Chaplin was the GOAT of goats and this just might be his finest hour.
–Sailor Monsoon
What a sweet story this is! Charlie Chaplin is a legend for a reason, and watching his physicality and expressions creates such a persona that you almost forget no one is actually talking. The score too, is practically another character within the story, creating whimsy, terror and hijinks. I particularly enjoyed watching the scenes between Chaplin and Cherrill, who were surprisingly heartwarming and sweet together. I haven’t really watched many silent films, but watching this one has made me want to watch more.
–Valerie Morreale
Perfect Ending
In the final scene, we see the coming together of the Tramp and his love interest. She now has her sight restored thanks to the Tramp’s endeavours throughout the preceding 80 minutes or so. According to Chaplin this is the first scene he thought of when writing the script. He considered the finale to be the centre of the entire film. Despite being a relatively short scene, its shooting ended up taking six days.
Especially fond of the final scene himself, he said
In City Lights just the last scene … I’m not acting … Almost apologetic, standing outside myself and looking … It’s a beautiful scene, beautiful, and because it isn’t over-acted.
It’s emotional simplicity at its very best. The formerly blind girl’s eyes light up when she finally realises who she is face to face with. At the start of the movie, the flower-seller mistakes the Tramp for a rich gentleman. Now, vision restored, she mistakes the same person for a nobody. Yet she still treats him with an affection that he never expected. The inversion in the finale brings everything together. It’s simple, yet one of the most poignant moments in cinema history. Fantastically acted, wonderfully shot, it leaves the viewer with a satisfying feeling that everything has worked out. And that’s not something Chaplin always did in his other movies.
Legacy
Despite Hollywood having moved on from silent movies at the time of release, City Lights was a box office success and hailed as a masterpiece. It has stood the test of time and is regarded by many as one of the centerpieces of American cinema.
In 1991, the Library of Congress selected City Lights for preservation in the United States National Film Registry as being culturally, historically, or aesthetically significant, and in 2007, the American Film Institute ranked it 11th on its list of the best American films ever made. Personally, it’s a movie I revisit every few years, and find it a pleasure every time.
Have you seen City Lights? What did you think of the film? Do you have a fun fact or piece of trivia about the making of the film? Share it in the comments below!
