IMDb > City Lights (1931)
City Lights
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City Lights (1931) More at IMDbPro »

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City Lights -- The Tramp falls in love with a beautiful, blind flower girl who is in financial trouble.


User Rating:
8.6/10   97,509 votes »
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Popularity: ?
Up 4% in popularity this week. See why on IMDbPro.
Charles Chaplin (written by)
View company contact information for City Lights on IMDbPro.
Release Date:
7 March 1931 (USA) See more »
With the aid of a wealthy erratic tippler, a dewy-eyed tramp who has fallen in love with a sightless flower girl accumulates money to be able to help her medically. Full summary » | Full synopsis »
Plot Keywords:
3 wins See more »
(224 articles)
[Review] Love the Coopers
 (From The Film Stage. 17 November 2015, 6:36 AM, PST)

Film Review: ‘Love the Coopers’
 (From Variety - Film News. 12 November 2015, 8:12 AM, PST)

The 101 Funniest Screenplays of All-Time, According to the WGA
 (From The Film Stage. 12 November 2015, 5:38 AM, PST)

User Reviews:
A classic film made with love and precision See more (209 total) »


  (in credits order) (verified as complete)
Virginia Cherrill ... A Blind Girl
Florence Lee ... The Blind Girl's Grandmother
Harry Myers ... An Eccentric Millionaire
Al Ernest Garcia ... James - the Millionaire's Butler (as Allan Garcia)
Hank Mann ... A Prizefighter

Charles Chaplin ... A Tramp (as Charlie Chaplin)
rest of cast listed alphabetically:
Jack Alexander ... Spectator in Boxing Scene (uncredited)
T.S. Alexander ... Doctor (uncredited)
Victor Alexander ... Superstitious Boxer (uncredited)
Albert Austin ... Street Sweeper / Burglar (uncredited)
Harry Ayers ... Cop (uncredited)
Eddie Baker ... Boxing Fight Referee (uncredited)
Henry Bergman ... Mayor / Blind Girl's Downstairs Neighbor (uncredited)
Betty Blair ... Woman at Center of Table in Restaurant (uncredited)
Buster Brodie ... Bald Party Guest (uncredited)
Jeanne Carpenter ... Diner in Restaurant Scene (uncredited)
Marie Cooper ... Dancer (uncredited)
Tom Dempsey ... Boxer (uncredited)
Peter Diego ... Man in Mix-Up with Coat and Hat (uncredited)
James Donnelly ... Street Sweepers' Foreman (uncredited)
Ray Erlenborn ... Newsboy (uncredited)
Ruth Garcia ... Woman at Left of Table in Restaurant (uncredited)
Milton Gowman ... Passerby in Street Scene (uncredited)
Robert Graves ... Police Officer (uncredited)
Charles Hammond ... Passerby in Street Scene (uncredited)

Jean Harlow ... Diner in Restaurant Scene (uncredited)
Ad Herman ... Spectator in Boxing Scene (uncredited)
Joseph Herrick ... Spectator in Boxing Scene (uncredited)
Austen Jewell ... Newsboy (uncredited)
Willie Keeler ... Boxer (uncredited)
A.B. Lane ... Spectator in Boxing Scene (uncredited)
Eddie McAuliffe ... Eddie Mason - Boxer (uncredited)
Leila McIntyre ... Flower Shop Assistant (uncredited)
Margaret Oliver ... Passerby in Street Scene (uncredited)
Robert Parrish ... Newsboy (uncredited)
Mrs. Pope ... Diner in Restaurant Scene (uncredited)
John Rand ... Tramp Who Dives for Cigar (uncredited)
Granville Redmond ... Sculptor (uncredited)
W.C. Robinson ... Man Who Throws Away Cigar (uncredited)
James Sheldon ... Young Man (uncredited)
Cy Slocum ... Spectator in Boxing Scene (uncredited)
Tony Stabenau ... Victorious Boxer - Later Knocked Out (uncredited)
Mark Strong ... Man in Restaurant (uncredited)
Jack Sutherland ... Tall Man at Party (uncredited)
Joe Van Meter ... Burglar (uncredited)
Emmett Wagner ... Second (uncredited)
Tiny Ward ... Man in Elevator in Front of the Art Shop (uncredited)
Stanhope Wheatcroft ... Distinguished Gentleman in Cafe (uncredited)

Directed by
Charles Chaplin 
Writing credits
Charles Chaplin (written by)

Harry Clive  uncredited
Harry Crocker  uncredited

Produced by
Charles Chaplin .... producer (uncredited)
Original Music by
Charles Chaplin (music composed by)
Cinematography by
Gordon Pollock (photographer)
Roland Totheroh (photographer) (as Rollie Totheroh)
Film Editing by
Charles Chaplin (uncredited)
Willard Nico (uncredited)
Casting by
Al Ernest Garcia (uncredited)
Set Decoration by
Charles D. Hall (settings)
Production Management
Alfred Reeves .... production manager (uncredited)
Second Unit Director or Assistant Director
Albert Austin .... assistant director
Henry Bergman .... assistant director
Harry Crocker .... assistant director
Sound Department
Theodore Reed .... sound supervisor (uncredited)
Camera and Electrical Department
Ralph Barton .... still photographer (uncredited)
Mark Marlatt .... camera operator (uncredited)
Frank Testera .... gaffer (uncredited)
Editorial Department
Peter Culverwell .... assistant editor (1988 recording of Chaplin's score)
Tim Grover .... assistant editor (1988 recording of Chaplin's score)
Music Department
Carl Davis .... musical director (1988 recording of Chaplin's score)
Robert Hathaway .... music editor (1988 recording of Chaplin's score) (as Bob Hathaway)
John Hayward .... music dubbing mixer (1988 recording of Chaplin's score)
Arthur Johnston .... musical arrangement
Dick Lewzey .... music recordist (1988 recording of Chaplin's score)
Alfred Newman .... musical director
José Padilla .... composer: additional music
Paul Wing .... orchestral contractor (1988 recording of Chaplin's score)
Transportation Department
Toraichi Kono .... driver: Mr. Chaplin (uncredited)
Other crew
Kevin Brownlow .... supervisor (1988 recording of Chaplin's score)
David Gill .... supervisor (1988 recording of Chaplin's score)
Harry Crocker .... unit publicist (uncredited)
Carlyle Robinson .... press representative (uncredited)
Della Steele .... script supervisor (uncredited)
Crew verified as complete

Production CompaniesDistributorsOther Companies
  • Lansdowne Studios  recorded at (as C.T.S. Studios, London) (1988 recording of Chaplin's score)
  • Pinewood Studios  re-recording at (1988 recording of Chaplin's score)

Additional Details

Also Known As:
"City Lights: A Comedy Romance in Pantomime" - USA (copyright title)
See more »
87 min
Aspect Ratio:
1.20 : 1 See more »
Sound Mix:
Silent | Mono (musical score)
Argentina:Atp | Australia:G | Denmark:A (2003) | France:U | Germany:6 (re-rating) (1997) | Netherlands:14 (1954) | Netherlands:14 (re-rating) (1954) | Netherlands:AL (re-rating) (1954) (slightly cut) | Netherlands:14 (original rating) (1931) | Netherlands:AL (re-rating) (1931) | Norway:7 | Portugal:M/6 (DVD rating) | South Korea:All | Spain:T | Sweden:Btl | UK:U | USA:Passed (National Board of Review) | USA:G (1972) | West Germany:12 (1951)

Did You Know?

The millionaire's car is a 1926 Rolls Royce.See more »
Continuity: In the very same scene, the Tramp tried to place a gun in the desk top table. The millionaire was lying back on the scene. The next shot, he was sitting upright.See more »
The Tramp:Tomorrow the birds will sing.See more »
Movie Connections:
How Dry I AmSee more »


What titles feature wacky boxing?
Is this movie based on a book?
Why is it called "City Lights"?
See more »
34 out of 40 people found the following review useful.
A classic film made with love and precision, 6 February 2001
Author: BYUmogul from New York

Film has become a medium that is strongly influenced by nostalgia. Old films have become journeys to the past; ways to visit times and people that no longer are. Since film is an art that is based on the innovation of previous works, it has an element of nostalgia in its foundation. We look on the old to find what elements should make up the new. In City Lights, and other silent works of film, a passion emerges that is uniquely honest and sincere. While watching the film, I was impressed that Chaplin really did love the story, the sets, the crew; the whole project. While this may not have been the complete reality, it felt that way, and thus made the film more enjoyable. In silent films the audience is forced to be completely reliable on the visual elements of the film; there are no elaborate sound effects or dialogue to provoke an emotional response.

Since film is at its very core a visual medium, I find silent films to be the basic form of the medium. I don't use the word basic here in a demeaning sense, but I compare the beauty of silent films to the beauty of early European art, before the concept of perspective was developed in the Renaissance. Many books and tomes featured people as tall as the castles they stood in; these works of art were not technologically advanced, but they were, and are, beautiful. The same example is found when comparing early darreographs of wild animals to contemporary photographs found in National Geographic. There is a warmth found in City Lights, and other Chaplin films (The Kid, Modern Times) that would be lost in the sea of cinematic technology that floods films today. Maybe it's just that with simplicity comes honesty, and honesty is perhaps the most powerful emotion that can cross through the screen and be felt by the viewer.

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