Tempi moderni

Greetings from Lithuania.

"Modern Times" (1936) is my first movie which i saw that features Charles Chaplin. Saw it first time in 2015, but nevertheless it's a great movie. Comedy here is truly funny, and it's not just a comedy. It tells a story, with some underlying themes that are still kinda topical till this day – technology is changing, evolving, and if you are not keeping pace with it, you will have some hard times like our hero of this movie.

Acting here is very solid, actually i was surprised of how well acted this movie was – no one overreacted. Story itself is interesting and movie is very well paced – at running time 1 h 27 min it almost never drags and is entertaining from start till finish.

Overall, "Modern Times" is a black and white silent movie (there are some sounds actually) which safely can be viewed for the first time even in 2015 – 79 years after it's original release. It has some truly genuine comedic situations, it tells good story and pacing of picture is very solid. Maybe it is not possible to review this movie correctly now because it's very old, but great movies are great movies – they can be viewed no matter what.

This very well written story never lets down from the very first image we see, flocking sheep compared with rushing urban human crowds, to the very ending. Excellent criticism of the Taylorism/capitalistic through humor relevant for any age, nationality or time; story-telling that would touch anyone alike in a universal fashion, every now and then sparkled with Chaplin's unique and deeply influential sense of humor and on-screen comedy. Hilarious in moments, and unique. A man of many talents clearly, and excellent at those. Overall this depicts quite a zany approach to life, one that is pure in essence and profoundly antagonistic with the current ways of the time, and ways of today still: a life dominated by one-track thinking, rigid and stubborn social etiquette, and the enslavement this new world has brought in so many aspects to the human species. Finally, it highlights the importance of never giving up; EVER; and the preciousness of love.

... as I find it to be the combination of the most relatable and the funniest of his films.

Normally I start these reviews with a short synopsis of the plot with a few personal observations, but it's hard to do that in this case without it turning into a bunch of "And then's". I've read that Chaplin had the general idea of what kind of film he wanted to make in this case, and came up with the specific skits and gags he wanted, and then built a specific plot around it. It was unusual for Chaplin to put any of the women in his life into his films, at least while they WERE the women in his life, and it was also unusual for them to get away without having at least one child by him. Paulette Goddard managed to do both. So Goddard is "a gamin" - a street urchin, also known as Ellen. Chaplin is just "the tramp" character that he normally is.

At first, the tramp is all alone facing these "modern times" of the 1930s - a dehumanizing factory job that causes a breakdown, then he's falsely labeled as a Communist leader and instigator and jailed, and when released he finds himself looking for work among the many millions of unemployed during the Great Depression. His fate joins with Ellen when she is caught stealing a loaf of bread and he takes the blame for it to spare her from jail. When they both escape - they are both arrested for the thievery - they join forces and try to find happiness around the edges of society, finding jobs when they can.

This is Chaplin's last silent film, but it really is more of a mute sound film than a true silent. The factory boss speaks - "Get back to work!" and Chaplin himself sings the gibberish song towards the end of the film - the first time his voice had ever been heard on film. You can also hear the crowd noise in the cafe when Chaplin sings.

This film has lots of blatant anti-capitalist themes, based on Chaplin's long held beliefs and observations from a childhood rife with poverty, as well as the contrast of the America he found when he returned after being abroad for a good long time versus the one he left, before the Great Depression had taken hold. Had he not been playing his Little Tramp character while making all of these statements with his art, the film might not have been passed by the censors.

Charlie Chaplin's Modern Times (1936) is the final film to feature the great actor/director/writer's most easily recognizable incarnation: The Tramp. Here is a character that is so ingrained in the collective conscious of modern film audiences that many recognize him despite the fact that they have not seen a single Chaplin film. Indeed, several iconographic studies have labeled The Tramp (with his worn hat, distinctive mustache, dusty suit, cane, and trademark waddle) as the single most identifiable fictional image in history.

Still, the film that perhaps most influenced the creation and thematic realization of Modern Times was not even a silent one. The Jazz Singer, which debuted in 1927, five years before Modern Times began production, is perhaps the most important watershed film in the industry's century-old history. In the film, comic great Al Jolson stands up in front of the audience and...sings. And as Millard Mitchell said in Singin' in the Rain, the public was suddenly in a frenzy for "Talking pictures! Talking pictures!" Sadly, with the advent of synchronized sound and dialogue, the world of silent filmmaking began to slip into obscurity with audiences and studios now viewing it as obsolete and undesirable. Nevertheless, Chaplin continued his passion for the subtle craft by creating City Lights (1931), which many critics and academics consider one of the greatest films ever made, but by the time Modern Times was released, Chaplin was one of the last directors left clinging to a dying art.

Modern Times is not an entirely silent film, (there are dialogue snippets and sound effects), but if you look closely, every character with dialogue (excluding Chaplin himself) is being mocked. Even when The Tramp opens his mouth (the only time he ever did so in a film), the words are nonsensical, defying the burgeoning convention that dialogue is mandatory for substance, entertainment, and quality.

Despite the film's status as one of the greatest comedies of all-time, it is hard to ignore the political component. In his movies, Chaplin often exhibited a great mistrust for authority and progress, as often embodied through the social elite, the police, and wealthy entrepreneurs. The irony of the film's title, then, is two-fold. It connects with Chaplin's own bitter feelings regarding his moribund art form, but also refers to the plight of the working classes during the Great Depression (long working hours with little job security and meager salary, while the upper classes remain wealthy and bide their idle time) The world was changing fast, and Chaplin foresaw that many of these changes were far from beneficial.

As we watch The Tramp struggle through the modern, mechanized world, we laugh at his antics and the absurdity of their results, but we can also feel pain and pity. He is clearly a man who does not belong. Indeed, The Tramp can almost be thought of as a misfit who has passed through a membrane from some alternate reality and unwittingly fallen into our familiar world (notice that he does not have a name or identification of any kind, and as far as we know, he has no friends, family, funds, or history).

He takes on assembly lines, feeding machines, department stores, policemen and various other mass-oriented aspects of the industrialized world (all which demand and exhibit sameness and conformity), but The Tramp (and his symbolic extension, the individual) never seem to fit.

This is, consequently, why Modern Times is also one of the most poignant love stories ever put on film. The only character who is on the same level as The Tramp is a young, homeless woman who is referred to as "The Gamin" and is played by Chaplin's then-wife, Paulette Goddard. These two are brought together by the fact they have almost nothing except the will to live and continue forward, despite adversity. Both are nameless, neither has a home, and they each have no money or material possessions.

It is here that Chaplin makes his most poignant and saddening statement about modern living. The Tramp and The Gamin are the only characters who exhibit individuality and idealism, yet they are also the ones lowest on the social and economic food chain. The conclusion of the film, which most likely reflects upon Chaplin's own emotions, is tinged with sadness, but also a lingering hopefulness that resonates as loudly and clearly today as it did more than sixty years ago.

Then there is, of course, the comedy, which is the stuff of legendary status. Some of the most memorable comic images in film history are found in Modern Times. These include The Tramp's bout with an assembly line (and his resulting twitches), his unfortunate encounter with "nose-powder", the moment when he quite literally becomes a cog in the wheels of industry, and his epic struggle to bring roast duck to an angry customer.

In my opinion, however, the two standout moments are the scene in a department store involving a blindfold and some rollerskates (the most exquisite moment of comedy in the film) and the sequence where The Tramp is submitted to the mad whim of an out-of-control feeding machine (the most uproarious moment in the film).

These are just a handful of moments that make Modern Times the enduring masterpiece that it is. On a personal level, the aspect of the film that resonates strongest with me is its appeal to the idealistic misfit in all of us. In our hearts, many of us long for the simplicity and exuberance with which The Tramp and The Gamin live life (with attention to the bare essentials and an absence of need for materialism and modern trappings).

As Chaplin so skillfully shows, however, our modern times make this lifestyle a faded dream, lost among the sheep-like herds of men and women scurrying through a modern metropolis that only Fritz Lang could make seem darker and more devoid of true humanity. Still, the final image of Modern Times refuses to let the film end on an exclusively tragic note and demonstrates that the individual is still alive and may yet find his way in an ever-changing world.

Never a dull moment with the vagrant antics of Mr Charlie Chaplin as he seeks to impress on his audience the impact of living in the modern era. What would the little man make of the world today, as technology continues its drive to remove people from the workplace and replace them with more and more automation (who can blame them during pandemic times). A timeless classic that is perfectly geared, engaged and enmeshed for the unstoppable onslaught of technology and its perpetual modernisation - happiness beckons.