The farewell performance of The Tramp Charlie Chaplin's Modern Times (1936)

 The farewell performance of The TrampCharlie Chaplin's Modern Times (1936) is the last film to show the great actor / the incarnation of the director / writer of the most easily recognizable: the tramp. Here is a character that is so ingrained in the collective consciousness of modern viewers recognize it as though I have not seen a single film Chaplin. In fact, several iconographic studies marked the Tramp (with his hat worn, its distinctive mustache, dress of dust, sugar cane and a walking brand) that the single most recognizable image of fiction in history.
However, the film that perhaps most influenced the creation and implementation of thematic Modern Times was not even a silencer. The Jazz Singer, which began in 1927, five years before the modern era began production, is perhaps the most important milestone centenary of the film in the history of the industry. In the movie, great comedian Al Jolson stands facing the audience and ... sings. And as Millard Mitchell said in Singin 'in the rain, the audience suddenly in a frenzy of "Talking Pictures! Images that speak!" Unfortunately, with the advent of synchronized sound and dialogue, the world of silent films began to fall into oblivion with the public and now studies considering as outdated and undesirable. However, Chaplin continued his passion for the profession by creating subtle City Lights (1931), many critics and scholars consider one of the best films ever made, but the moment in modern times was released, Chaplin was one of the directors of the past left clinging to a dying art.
Modern times is not totally silent film (there are fragments of the effects of dialogue and sound), but if you look closely, all characters with dialogue (excluding Chaplin himself) teases. Even when the tramp opens her mouth (the only time he did in a movie), the words have no meaning, challenging the growing convention that dialogue is obligatory for substances and quality entertainment.
Despite the condition of the film as one of the greatest comedies of all time, is hard to ignore the political component. In his films, Chaplin often shows a great distrust of authority and progress, as is often represented by the social elite, police and wealthy businessmen. The irony of the title of the film, is twofold. Connect with Chaplin bitter feelings about their dying art form, but also refers to the situation of the working classes of the Great Depression (working long hours with little job security, low wages, while the upper classes are still rich and take their downtime) The world is changing rapidly, and Chaplin planned that many of these changes were far from beneficial.
As we see the struggle tramp through modern mechanics, we laugh at his antics and the absurdity of their results, but may also feel pain and sorrow.It is clearly a man who does not belong. In fact, the tramp almost be regarded as a misfit who has passed through a membrane from another reality and unwittingly fell into our familiar world (note that no name or identification of any kind, and for all we know, not have any friends, family, money, or history).
It takes on assembly lines, feeding machines, department stores, police and various other aspects of mass-oriented industrialized world (all that exposure to equal and demand and compliance), but the Tramp (symbolism and extension, the individual) does not seem to fit.
  This is, therefore, why modern times is one of the most moving romance ever filmed. The only character who is on the same level as the hobo is a homeless young woman called "The Kid" and is played by Chaplin, and then-wife, Paulette Goddard. These two elements are united by the fact that they have almost nothing except the will to live and carry on despite adversity. They have no name, or have a house, and each one has possessions, no money or equipment.
This is where Chaplin made his statement, the most poignant and sad in modern life. The tramp and the child are the only characters with individuality and idealism, but also the lowest in the food chain, economic and social development. The conclusion of the film, which probably reflects Chaplin's own emotions, is tinged with sadness, but also a persistent hope that sounds like today loud and clear as it did over sixty years.
Then there is, of course, the comedy, which is the characteristics of a legendary status. Some of the most memorable images in comic movie history are in modern times. These include the noise of battle with an assembly line (and its resulting tremors), his unfortunate encounter with "nose powder" when literally becomes a cog in the machinery industry, and their epic struggle for roast duck to an angry customer.
In my opinion, however, the two highlights are the scene in a department store with a blindfold on and some skaters (the most exquisite moment of comedy in the film) and the sequence in which the traveler is subject towhims of a madman in power control of the machine (the funniest moment in the film).
These are just a handful of moments that make the modern masterpiece that is sustainable. On a personal level, the look of the film that resonates with me stronger its request that the failure idealist in all of us. In our hearts, many of us long for the simplicity and exuberance with which the Tramp and Gamin live life (with special attention to the basics and there is no need for materialism and modern traps).
As Chaplin so skillfully shows, however, modern times make this a lifestyle dream vanished, lost among the flocks of sheep, as men and women who ran through a modern metropolis that might make Fritz Lang, seems darker and devoid of true humanity. However, the final image of modern times refuses to let the end of the film with a tragic note and demonstrates only that the individual is still alive and can still find their way in a changing world.

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