Just as sound film was putting an end to Hollywood’s silent era, the opening scene of City Lights has two people speaking in synched gibberish (a cross between the adults of the Peanuts cartoons and a jacked-up kazoo) - this was Charlie Chaplin’s way of thumbing his nose at the new invention. Sound horrified Chaplin, and with good reason as it was already putting an end to the career of many silent stars. Chaplin knew giving a voice or a language or worse his strong British accent to his internationally beloved Little Tramp character could kill it. The Tramp doesn’t speak, nor does anyone else; instead Chaplin composed a massive score that went with the film.
City Lights opens with a title card, calling itself a "comedy romance in pantomime." It’s also a fable about the heartlessness of urban life, almost a gentle version of Fritz Lang’s much darker Metropolis. Chaplin’s Tramp may be at his saddest and most pathetic. As the Great Depression rages the homeless Tramp searches for compassion in his trademark oversized shoes, ill fitting suit, bowler hat, and Hitler mustache. Like Frankenstein’s Monster and that little girl, The Tramp makes a connection with a beautiful blind flower girl, played movingly by Virginia Cherill in her first film; she would be equally remembered briefly as a real-life Mrs. Cary Grant. She mistakes The Tramp for a rich man and he finds out she and her kindly Grandmother (Florence Lee) are going to be evicted from their hovel. The Tramp takes on a series of humiliating jobs, including street sweeper and prizefighter, to try and help the two women. He also befriends a drunken Millionaire (Harry Myers) who invites The Tramp into his home at night while under the influence, but the next day, once sober, kicks him out. Eventually he convinces The Millionaire to pay for an operation to give The Blind Girl sight. Later The Tramp is mistaken as a robber who robbed The Millionaire and is sent off to prison.Continue Reading