tag:blogger.com,1999:blog-8214297712303916286.post4717262097563681175..comments2023-04-16T07:57:04.629-04:00Comments on Screen Savour: Limelight (1952)Unknownnoreply@blogger.comBlogger3125tag:blogger.com,1999:blog-8214297712303916286.post-39934518811574565692009-05-28T22:09:47.645-04:002009-05-28T22:09:47.645-04:00A loving tribute to Chaplin's final sample of geni...A loving tribute to Chaplin's final sample of genius. If there are those who can't accept or understand it, I dread their ignorance. It's a masterpiece.Dean Treadwayhttps://www.blogger.com/profile/02106829300132326368noreply@blogger.comtag:blogger.com,1999:blog-8214297712303916286.post-16258693157128785562009-05-27T21:33:18.196-04:002009-05-27T21:33:18.196-04:00Thank you, Sam. I appreciate the kind words. I've ...Thank you, Sam. I appreciate the kind words. I've always been surprised by the adverse reaction many have to <I>Limelight</I>, but the more I've thought about it, the less surprised I should be. The way so many brand it with a scarlet-S-for-sentimental (or indeed, some of Chaplin's others films) has rubbed me the wrong way. I can understand a dismissal of sentimentality when a film can't support the weight of the emotion, the same way I can understand a dismissal of excessive violence or ugly emotions when the film, the director, the writing, and the performances can't support it. The thing with <I>Limelight</I>, for me, is that it is tremendously touching as well as being well made, performed greatly and written to be both reflective and introspective as well as expressive and vaudevillian. And if I'm a sap then I'm a Chaplin-loving sap (as are you!) and there's nothing wrong with that.T.S.https://www.blogger.com/profile/00945932279787919282noreply@blogger.comtag:blogger.com,1999:blog-8214297712303916286.post-44810951675025098522009-05-27T17:09:57.057-04:002009-05-27T17:09:57.057-04:00What an exceedingly beautiful piece of writing, in...What an exceedingly beautiful piece of writing, infused with the obvious passion you have for your subject, one that I'm happy to say I share. (Chaplin is my personal "favorite" director of all-time and CITY LIGHTS could be my favorite film of them all) You again present your patented historical an dthematic perspective as well as plot points that lie at teh essence of this bittersweet film, the last of Chaplin's films that could be referred to as "great." Of course there are a few detractors, one of whom David Thomson, irresponsibly stated that "only a great egotist like Chaplin could have made a film as 'unspecific' as Chaplin. Well there's nothing 'unspecific' here as you eloquently posed in your review, especially that whol epassage about the significance of Calvero dying onscreen and as you state succinctly:<br /><br /> "The plot would work without it, but the meditation on life, death, art, and impression would be null."<br /><br /> I was fascinated to read again about the Chaplin-Keaton 'scene' and of their relationship, but had not realized that Chaplin never mentioned Keaton in his autobiography even though Keaton rightly referred to him as "the greatest silent comedian of all-time."<br /><br /> I love your impassioned defense of the film against those who call it 'too sentimental' and was always astonished that the film was held back for two decades (making his ultimate appearance of course a major cultural event).<br /><br /> Alas T.S., you caught it all here magnificently:<br /><br />"But this is a film of warmth and remembrance, of frailty and finality, and such things are bound to offend the sterner sensibilities of others. As for me, Chaplin had my heart from start to finish."Sam Julianonoreply@blogger.com