AVALIAÇÃO DA IMDb
8,5/10
196 mil
SUA AVALIAÇÃO
Com a ajuda de um homem rico, bêbado e imprevisível, um vagabundo ingênuo que se apaixonou por uma florista cega tenta conseguir dinheiro para fornecer ajuda médica.Com a ajuda de um homem rico, bêbado e imprevisível, um vagabundo ingênuo que se apaixonou por uma florista cega tenta conseguir dinheiro para fornecer ajuda médica.Com a ajuda de um homem rico, bêbado e imprevisível, um vagabundo ingênuo que se apaixonou por uma florista cega tenta conseguir dinheiro para fornecer ajuda médica.
- Prêmios
- 4 vitórias
Charles Chaplin
- A Tramp
- (as Charlie Chaplin)
Al Ernest Garcia
- The Millionaire's Butler
- (as Allan Garcia)
Johnny Aber
- Newsboy
- (não creditado)
Jack Alexander
- Boxing Match Spectator
- (não creditado)
T.S. Alexander
- Doctor
- (não creditado)
Victor Alexander
- Superstitious Boxer
- (não creditado)
Albert Austin
- Street Sweeper
- (não creditado)
- …
Harry Ayers
- Cop
- (não creditado)
Eddie Baker
- Boxing Fight Referee
- (não creditado)
Henry Bergman
- Mayor
- (não creditado)
- …
Edward Biby
- Nightclub Patron
- (não creditado)
Betty Blair
- Woman at Center of Table in Restaurant
- (não creditado)
Buster Brodie
- Bald Party Guest
- (não creditado)
Jeanne Carpenter
- Diner in Restaurant
- (não creditado)
- Direção
- Roteiristas
- Charles Chaplin
- Harry Carr(não creditado)
- Harry Crocker(não creditado)
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Enredo
Você sabia?
- CuriosidadesSir Charles Chaplin invited Albert Einstein and his wife Elsa to join him at the Los Angeles premier on January 30, 1931. When the house lights came up, Chaplin was surprised to see Einstein's eyes tearing at the final scene. Chaplin said in his autobiography that he had not known Einstein to be so "sentimental."
- Erros de gravação(at around 50 mins) When the man swallows part of the Tramp's soap and starts spraying bubbles, the tube used to spray the bubbles is clearly visible behind him.
- Citações
The Tramp: You can see now?
A Blind Girl: Yes, I can see now.
- Versões alternativasAbout seven minutes of footage of Georgia Hale playing the flower girl exists and is included in the 2003 DVD release. The footage was shot during a brief period when the actress originally cast to play the character had been fired and replaced with Hale, but Charles Chaplin was forced to resume filming with the original actress due to the amount of film already shot.
- ConexõesEdited into Histoire(s) du cinéma: Fatale beauté (1994)
Avaliação em destaque
A classic film made with love and precision
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.
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.
útil•457
- BYUmogul
- 6 de fev. de 2001
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Detalhes
- Data de lançamento
- País de origem
- Centrais de atendimento oficiais
- Idiomas
- Também conhecido como
- City Lights
- Locações de filme
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 1.500.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 19.181
- Fim de semana de estreia nos EUA e Canadá
- US$ 9.102
- 8 de jul. de 2007
- Faturamento bruto mundial
- US$ 50.419
- Tempo de duração1 hora 27 minutos
- Cor
- Mixagem de som
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