The narrative about a legendary but faded comedian gets most of its power from the casting of Chaplin as, basically, himself, but the greater theme of struggling to deal with aging is more universal. Frustratingly, the camerawork, editing, pacing, and occasionally excessive melodrama prevent this film from quite living up to its potential, but it's still a tremendously intriguing work.

439

For over 2 hours, Chaplin is basically pissing and moaning because his one narrow brand of comedy isn't aging well, and when he's not doing that he's failing miserably at attempting profound realizations. Oh and it's really boring too.

I don't generally dig Chaplin at all. I have turned off or walked out of many of his films. Astonishingly, I actually like this one. True to form for Chaplin, it's a bit simplistic -- even naive -- but what it has to say about life rings true, the dramatic story (which I believe is Chaplin's most serious) actually works (even if it is a bit hoary)... and I even found myself laughing at many of the jokes. Plus if you've ever had a suicidal, much younger ladyfriend, you can totally relate

It's a film about a famous comedian who is past his prime and who has lost touch with his audience, made by a director who is a famous comedian past his prime and who has lost touch with his audience. The film's protagonist, played by the screenwriter-director, feels isolated and is self-pitying and prone to moralizing. The film itself feels isolated and detached from reality. It's also confessional and frequently embarrassing. Calvero's death is so steeped in self-pathos that it's grotesque.

Nowhere near as daring as Chaplin had been in the past, and that's especially sad considering the subject matter

#469

One of Chaplin's finest films and the most touchingly bittersweet masterpiece in the history of cinema. Chaplin himself delivers an astounding performance, far from the formula of the Tramp.

An older Chaplin still keeps looking after these helpless young women who miraculously endure his unchecked mugging.

Chaplin's best score since "The Kid", great bio pic and a sad farewell to a legendary actor, artist, and the "most famous ballet dancer in the world".

The simplicity in this movie is amazing! Felt in love with every single scene!

This is a movie that provides everything: humor in a well balanced way. Maybe his most personal movie.

The depiction of the temporal nature of Chaplin's preferred medium and life. His inability to competently stretch out to other mediums whilst being this self-referential is his paradox; it reinforces his Holism and the sad loss of the silent-era. We are left with a broken shell, and the film reflects this, but the subtext remains profound. The film's vast, superficial imperfection makes it greater than itself; it is a sacrifice, as was his life. This significance will resonate and endure.

Chaplin always did have a very sentimental side, and here it's just too much.

The tears of joy and happiness which you'll shed during this sensible, nearly autobiographical drama are earned. A fantastic story, memorable performances and many moving moments.

I may be no fan of Chaplin's brand of physical comedy, but I find it infinitely preferable to the unbearable narcissism of Limelight. What a load of pretentious piffle. I watched most of it at double, or quadruple, speed. Even the Keaton-Chaplin collaboration disappoints. Poor Buster is given little to do except fiddle endlessly with his sheet music and trod on a violin. What a waste.

# 403

The closest thing to a Chaplin autobiography on film, you can't help but marvel at how beautiful this man was and how nimble his fingers were at playing an audience's heartstrings, even towards the end of his career. A great film if you let it.