I don't know if this was Chaplin's greatest film, but I found it to be his most unique.
More than any other Chaplin movie, "Limelight" integrates Chaplin's own astonishing physical expressiveness and sensitivity with the qualities of sound, dance, and movement. Indeed, this film is dominated by these - the hauntingly beautiful recurring musical motif, the melancholy sweetness of the street musicians, the plaintiveness of the violin and piano, the grace of the ballerinas, and the agreeable contention of Chaplin's and co-star Claire Bloom's warmly mellifluous voices. There is not a discordant voice among any of these.
With regard to the performances, there is certainly a lot to talk about - Claire Bloom's great characterization, Sydney Chaplin's performance as the young composer, Buster Keaton's only skit with Chaplin, and Nigel Bruce's benevolent impresario. The simple but elegant direction, evocative set pieces, choreography, and general period/theater detail are all memorable.
But, ultimately, one returns to Chaplin himself and his vision of a lifetime. We see the Tramp through recapitulation and re-examination for the human being that he is and always has been.
Some might call this self-indulgence, but I call it greatness. 10 of 10.
More than any other Chaplin movie, "Limelight" integrates Chaplin's own astonishing physical expressiveness and sensitivity with the qualities of sound, dance, and movement. Indeed, this film is dominated by these - the hauntingly beautiful recurring musical motif, the melancholy sweetness of the street musicians, the plaintiveness of the violin and piano, the grace of the ballerinas, and the agreeable contention of Chaplin's and co-star Claire Bloom's warmly mellifluous voices. There is not a discordant voice among any of these.
With regard to the performances, there is certainly a lot to talk about - Claire Bloom's great characterization, Sydney Chaplin's performance as the young composer, Buster Keaton's only skit with Chaplin, and Nigel Bruce's benevolent impresario. The simple but elegant direction, evocative set pieces, choreography, and general period/theater detail are all memorable.
But, ultimately, one returns to Chaplin himself and his vision of a lifetime. We see the Tramp through recapitulation and re-examination for the human being that he is and always has been.
Some might call this self-indulgence, but I call it greatness. 10 of 10.