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Limelight (1952)

8.1
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Ratings: 8.1/10 from 11,157 users  
Reviews: 84 user | 28 critic

A fading comedian and a suicidally despondent ballet dancer must look to each other to find meaning and hope in their lives.

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Title: Limelight (1952)

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Won 1 Oscar. Another 6 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
Thereza
...
Postant
...
Calvero's Partner
...
...
Bodalink
Andre Eglevsky ...
Dancer
Melissa Hayden ...
Dancer
Marjorie Bennett ...
Mrs. Alsop
Wheeler Dryden ...
Thereza's Doctor
Barry Bernard ...
John Redfern
Stapleton Kent ...
Claudius
Molly Glessing ...
Maid (as Mollie Glessing)
Leonard Mudie ...
Calvero's Doctor (as Leonard Mudi)
Loyal Underwood ...
Street Musician
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Storyline

Chaplin's final American film tells the story of a fading music hall comedian's effort to help a despondent ballet dancer learn both to walk and feel confident about life again. The highlight of the film is the classic duet with Chaplin's only real artistic film comedy rival, Buster Keaton. Written by Kenneth Chisholm <kchishol@execulink.com>

Plot Summary | Add Synopsis

Taglines:

It will move you to love, laughter and tears See more »

Genres:

Drama | Music

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

29 October 1952 (Argentina)  »

Also Known As:

Candilejas  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (initial release) | (London premiere)

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The flea circus act in the film was a comedy idea that Charles Chaplin originally conceived of in 1919. Originally, he used it in the one completed scene of an aborted film project called The Professor (1919). Later, Chaplin attempted to use the idea for The Circus (1928), and The Great Dictator (1940), but could not justify in either plot. Finally, in his last film produced in America, Chaplin was finally able to use the act. See more »

Goofs

During the final comedy act, the pianist's chair changes between shots. See more »

Quotes

Calvero: I believe I'm dying, doctor. Then, I don't know. I've died so many times.
See more »

Crazy Credits

"The glamour of limelight, from which age must pass as youth enters." See more »

Connections

Featured in The Story of Film: An Odyssey: Episode #1.2 (2011) See more »

Soundtracks

The Death of Columbine
(1952) (uncredited)
Music by Charles Chaplin
See more »

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User Reviews

 
Chaplin's Best Talkie. 9/10
1 March 2001 | by (Saint Paul, MN) – See all my reviews

Charlie Chaplin is one of the undisputed masters of the cinema. He was one of the funniest actors of the cinema, and he was also one of the greatest directors. Of course, the films that he is most famous for are his silent comedies, especially The Gold Rush, City Lights, and Modern Times. The latter two were the product of Chaplin's stubborn clinging to the format and conventions of the silent cinema, though everyone else had gone to sound. This stubbornness was certainly sound. His contemporaries such as Buster Keaton and Harold Lloyd lost popularity when they moved to sound. Chaplin's last two silent films were popular and made a lot of money. Audiences may have craved sound, but they craved Chaplin, too, and did not disdain his silence. He was one of the silent artists who thought that they were just achieving the peak of their medium when sound came in. He proved himself right, since City Lights (1931) and Modern Times (1936) are probably his two best films, and both are two of the best films ever made.

Finally, in 1940, Chaplin directed and starred in his first talkie, The Great Dictator. Three more followed, Monsieur Verdoux, then Limelight, then King of New York, which happens to be the only one of these four I have not seen. The Great Dictator and Monsieur Verdoux were both good films in their own way, but perhaps Chaplin's in depth political commentary in these films detracted from them. The type of comedy that you find in his silent films did not mix well with this social commentary. The simple juxtapositions of the worlds of the poor and the rich in City Lights and Modern Times were far more powerful than what his first two talkies had to offer.

Then came Limelight, one of the most bittersweet films ever made. It is not perfect, but it achieves a grand melodramatic beauty that few films have ever even approached. The story is simple: a washed-up, old vaudvillian rescues a young ballet dancer from suicide. He takes care of her until she is healthy again, and even restores her confidence. The story may be simple, but the character dynamics are very complex. As the dancer, Theresa, is recovering, Calvero is not only rebuilding her confidence, but also his own. Theresa, because of his kindness towards her, finally believes she has fallen in love with him, even going so far as proposing marriage to him. Whether she actually loves him or not, and Calvero strongly asserts that she shouldn't and doesn't, these two characters have a constantly evolving relationship that does not end until the credits role. It is utterly fascinating, captivating, and dramatic.

There are a couple of problems, and though they're small, they deserve attention. Perhaps the biggest problem is that Claire Bloom is quite guilty of overacting. Her line delivery is bizarre and overdramatic. This isn't a big deal, since you ought to be keenly aware that the film takes place in the world of melodrama, and is thus exaggerated. Another thing that irked me is Buster Keaton's role. It is little more than a cameo. In fact, his character doesn't even have a name in the credits. This is truly disappointing, seeing that he, although Chaplin may have had the most heart, was the all-around funniest silent comedian.


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