Richards Favorite Videos

After several humorous chases (and witnessing yet another mob murder), Jerry, Joe, Sugar, and Osgood escape to the millionaire’s yacht. Enroute, Sugar tells Joe that she’s in love with him and not with “Junior”. Jerry, for his part, tries to explain to Osgood that he cannot marry him, but Osgood is oblivious to all of Jerry’s objections and remains determined—to the very end—to go through with the marriage; finally, Jerry removes the wig and yells, “I’m a man!”, prompting Osgood to utter the movie’s memorable last line: “Well, nobody’s perfect.”

Gotta love it.
Bittersweet symphony of revenge? or justice?…

At his funeral, Kathryn gives a speech to the school about how she had tried to get Sebastian to mend his ways and become a model student like herself. Halfway through her speech, students start walking out. Cecile is distributing copies of Sebastian’s journal to all the students. The journal shows all of Sebastian’s inner thoughts; his conquests, his description of the bet, and a page on Kathryn, which finally illustrates her manipulative and deceitful ways, including the fact that she hides a vial of cocaine in a crucifix she wears round her neck. The headmaster takes Kathryn’s crucifix and opens it, emptying the cocaine. Kathryn’s spotless reputation is destroyed, and people finally see her for the troubled, callous, mastermind that she is.

In the final shot, Annette drives away in Sebastian’s Jaguar, putting his sunglasses on, with his journal by her side.

I busted the hell up at the sheer comic genius of “you viewers are lucky, where the heck is Plucky?” every time. The symmetry, the increased pace of the song – it got me pumped up as hell.

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.

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.