Charlie Chaplin. Between Showers
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.
I Love Lucy. Bitter Grapes
From the episode, “Lucy’s Italian Movie.” Very funny fight scene.
Sesame Street. I Don’t Want To Live On The Moon
From 1978. I Don’t Want to Live on the Moon” is a Sesame Street song sung by Ernie, who expresses his desire to visit the moon someday, but ultimately decides he doesn’t want to live there. He also sings about wanting to travel under the sea and to a few other places, as long as he is able to return home to those he loves. This segment was also an opportunity to see Ernie in full-body puppet form.
Ernie later sang this song with Aaron Neville. (EKA: Episode 3357) Jim Henson’s original vocal recording was mixed with Aaron Neville’s recording, giving the impression that Jim Henson was still performing three years after he died.
Smile. Charlie Chaplin Montage
Michael Jackson rendition.
“A day without a laugh is a wasted day.” – Charles Chaplin
Donald Duck. 1943. Der Fuehrer’s Face
It was released on January 1, 1943 as anti-Nazi propaganda for the American war effort. It places Donald Duck as a German soldier who works in a munitions factory.
Fraggle Rock. Uncle Matt meets the Mouth Burners
Uncle Traveling Matt finds strange new silly creatures lighting things on fire near their mouth.
I Love Lucy. Harpo Marx Mirror Bit
Recycled, yet fresh take on the bit from Duck Soup.
City Lights Ending
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.