Richards Favorite Videos

The soundtrack of a clip from Charlie Chaplin’s film “Modern Times” made of Atari game sounds. Awesome

Opening of the movie. Modern Times is a 1936 comedy film by Charlie Chaplin that has his famous Little Tramp character struggling to survive in the modern, industrialized world. The film is a comment on the desperate employment and fiscal conditions many people faced during the Great Depression, conditions created, in Chaplin’s view, by the efficiencies of modern industrialization. The movie stars Chaplin, Paulette Goddard, Henry Bergman, Stanley Sandford and Chester Conklin. It was written and directed by Chaplin, and marked the final screen appearance of the iconic Tramp character.

In 1989, this film was deemed “culturally significant” by the Library of Congress and selected for preservation in the United States National Film Registry.

Modern Times is often hailed as one of Chaplin’s greatest achievements, and it remains one of his more popular films. The iconic depiction of Chaplin working frantically to keep up with an assembly line inspired later comedy routines including Disney’s Der Fuehrer’s Face, an episode of I Love Lucy titled “Job Switching”, and most recently, an episode of Drake & Josh.

This was Chaplin’s first overtly political-themed film, and its unflattering portrayal of industrial society generated controversy in some quarters upon its initial release.

It is important to note that in this Chaplin film, Modern Times, that all the sounds in the film only came from and through machines such as a television or display (Boss yells at him through this device), a phonograph, radio, and machines (sounds of machinery). The reason this is important because all these sounds are used to dehumanize the main character, a factory worker. Also, this film gives us an aspect of how the average factory felt like in those times, because you see how the main character is put under immense pressure (by the head boss and his supervisor) to perform his duties, far beyond his physical abilities.

Hynkle addresses his loyal crowd or brainwashed robots. Charlie Chaplins wonderful World War 2 satire.

The film ends with the barber, having been mistaken for the dictator, delivering an address in front of a great audience and over the radio to the nation, following the Tomainian take-over of Osterlich (an obvious reference to the German Anschluss of Austria on March 12, 1938). The address is widely interpreted as an out-of-character personal plea from Chaplin. Chaplin’s controversial speech, seen as an overtly political speech, may have contributed to the litany of reasons he was ultimately denied reentry in the United States during the McCarthy era (see the article on Charlie Chaplin for further detail). The speech was also denounced by the American Communist movement as Stalin had signed a non-aggression pact with Hitler before the release of the film.

Whats happening here?: General Schultz and the barber escape from the camp wearing Tomainian uniforms (featuring the double cross in parody of the Nazi swastika). Border guards mistake the barber for Hynkel (with whom he shares a remarkable resemblance, to the point that, if not for his clothes, he would be an absolute duplicate). Conversely, Hynkel, on a duck-hunting trip so that people will not expect an invasion, is mistaken for the barber and is arrested by his own soldiers. The barber, who has assumed Hynkel’s identity, is taken to the Tomainian capital to make a victory speech. Garbitsch, in introducing “Hynkel” to the throngs, decries free speech and other supposedly traitorous and outdated ideas. In contrast, the barber then makes a rousing speech, reverting Hynkel’s anti-Semitic policies and welcoming in a new era of democracy. The text of the speech can be read at Wikiquote.

Hannah, despondent over the recent events, hears the barber’s speech on the radio, and is amazed when “Hynkel” addresses her directly: “Hannah, can you hear me? Wherever you are, look up! Look up, Hannah! The clouds are lifting, the sun is breaking through! We are coming out of the darkness and into the light! We are coming into a new world; a kindlier world, where men will rise above their greed, their hate, and their brutality. Look up, Hannah!” The film concludes with Hannah indeed looking up, with a renewed sense of optimism.

A music video of three Charlie Chaplin movies, “The Gold Rush”, “City Lights”, and “Modern Times” to the song “One Day She’ll Love Me” sung by Sting and Shawn Colvin.

One of the most famous bits in film history, and its still wonderful.
Its New Years Eve in the frozen north during the great gold rush. In a cabin on the outskirts of a mountain town, one Charlie Chaplin, house sitting for a new friend, entertains his major crush and her friends. He is a big hit with his guests and they call for a speech. “I can’t make a speech” says the shy little fellow, “but I’ll do a dance”.
“And a dance he did with the rolls”…

In Between Showers, Chaplin and Sterling play two young men, Masher and Mirval Masher, who fight over the chance to help a young woman, played by Emma Bell Clifton, cross a muddy street. Eventually a police officer, played by Chester Conklin, arrests Mirval.

Michael Jackson rendition.

“A day without a laugh is a wasted day.” - Charles Chaplin

inal Scene Of City Lights Where Virginia Cherrill Recognises Charles Chaplin (Her Benefactor Whom She Supposes To Be Rich And Handsome) By Touch..

he ending is widely acclaimed as one of cinema’s most touching. The tramp, released from jail, ends up on the same street corner where the flower girl, her sight restored, has opened up a flower shop with her grandmother; every time a rich man comes into the shop she wonders if this is her mysterious benefactor. The tramp spots a flower in the gutter and as he goes to pick it up is tormented by a couple of kids as the flower girl laughs. Then he turns around, sees her, and stops. She laughs and tells her grandmother she has made another conquest. Seeing the flower fall apart in his hand, she goes out to give him a flower and a coin–and then she touches his hand and stops when she realizes it feels familiar. Slowly her hand goes up to touch the face of the tramp. “You?” she says as she realizes that the tramp before her is the reason she can see. “Yes” replies the nervous tramp, his face a map of shame, pride, love and devotion. “You can see now?,” he asks. “Yes. I can see now,” she replies (in later prints Chaplin removed the last title card since it was obvious what she is saying). The film ends with an unusual close up of the tramp and the music continues to swell for some time after the shot fades to black.