Solemplex To me, this movie is perfection.

Dorathen Better Late Then Never

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

Mandeep Tyson The acting in this movie is really good.

mindyhagen This was really good!! I lke yhe structure of the movie, and the acters are sooo good!

guedesnino The fear of Chaplin and his tramp Carlitos is the fear of the common man. The uncertainty of a world that in the measure of its modernity, excludes the individual and the spaces for the human feeling."Modern Times" uses the facet of satire and at certain times of the parody to result in a critical and conscious comedy. It promotes a laughter contained in a world where the population is comparable to a flock grazed by large corporations and corporations, and even being a film scripted and directed by Charlie Chaplin in 1936, has a strong prophetic or futuristic character, timeless and certainly helplessness, when we reflect In the position of the contemporary world.Chaplin in "Modern Times" already philosophized on so many important issues that when reviewing his films, we were amazed by his futuristic vision in terms of technology with surveillance systems monitored by cameras, a mix of reality show with face time, (Such as Skype), voice messaging (WhatsApp), digital recording, and the interference of man's banal activities, such as having lunch, being interfered with by machines and everything to ensure more work efficiency, Wasted time with human activities.In addition to the technological advances, there is in the film, or at least in its first part, an analysis of the effects and reflexes of modernity on man and the world, expressed by relations of subordination and power, by the totalitarianism of business groups and by the inexpressiveness of trade union movements Which result in meager advances and are brutally repressed by the police force. A well-presented paradox in the film is how man has managed to advance in technological modernities that, on the other hand, only increase the differences of social classes, generating groups concentrated by industrial power and a whole mass that is at the mercy of a great employment opportunity Part exploratory and enslaved. Living in miserable conditions, in a daily struggle for survival and without the prospect of a better future, there is nothing left but a passive position of the people, who fulfills their expectations with dreams and fantasies of consumption and a life less unworthy.The critical character of "Modern Times" knows how to measure well the moments of comedy, in fact, they mix in a homogeneous mass so well structured that allows the public, if it so wishes, to stick only to moments of comedy, but if you want, Just look more closely and we can see and see our world through a critical humor perspective. Perhaps the fear of Chaplin and his tramp Carlitos is the fear of the common man. The uncertainty of a world that in the measure of its modernity, excludes the individual and the spaces for the human feeling.Particularly, I believe in an attempt by Chaplin to soften his critical stance, for, in structuring the script of "Modern Times," the story is divided into chapters that resemble chapters, and which can, as a filmmaking feature, be relocated without Major implications, since the dependence of one chapter does not strongly interfere with another. This structure that border the sketch or "sketch", are, in my opinion, a weak and harmful feature to the film. So much that the resolution for this is a passage of days, there are no missing cards that inform the next action (chapter), it occurs ten, seven, five, two days later or within weeks. This division is so explicit that we can structure the film in the following way:Chapter I - Factory; Chapter II - The Prisoner of the Tramp Chapter III - The Life of the Poor Girl;Just in the middle of the movie, we have an unfolding of this critical and political comedy for a romantic comedy that nothing resembles the initial idea proposed to the film. The only vestige that remains of this trait is in the labor relations, the search for a job and a change of life.With the proviso to the slip of his narrative structure, you had a great work, and one more impeccable work of Chaplin. When "Modern Times" was made, cinema already had the sound feature, but Chaplin, mainly for his ideologies of creating a universal art cinema, which was not hampered by differences of languages ​​and other motives, remained faithful to the comic of mimicry , Which made him deservedly famous and admired all over the world.Conversely to those who say of their fear of using the soundtrack, we have in this film a Chaplin conscious of the advances of the sound and that knows to take advantage of that, the sound is presented as a technology that allows the sending of recorded messages, in the sound games like beats In the door that serve to confuse the actions, in the use of a radio to inhibit the sound of the gastritis and where the radio announcer remembers exactly to take the medicine to heal this evil and especially the sound, like match point of the history. If the hobo can not get a joint job, how about trying life as an artist? But for this it is necessary to sing, therefore he who never speaks. The result

david-sarkies I was actually about to completely write off this movie until I actually realised the genius that went into creating it. In a way Hollywood simply does not make movies like this any more, particularly where the creative genius of Charlie Chaplin is the writer, director, and star of the show. Sure, Chaplin is one of those actors that I have heard a lot about – he is one of the greats of the early years of Hollywood – but I never paid much attention to him believing that the only decent movies of the silent era came out of Germany (and to an extent Russia). However, a friend at work was talking about a film called The Dictator and a part of me decided that maybe it was time to actually sit down and see what Charlie Chaplin was all about. Well, I have to admit that I am glad that I did.The film itself doesn't have a plot, but rather is about the struggles of two people in the great depression and an age where technology is taking all of the jobs. However, Chaplin is a genius in how we satirises everything about modern life from automation, crazy inventions, the union movement, and even communism. On one level it simply seems to be nothing more than slapstick, though it is one of those movies that you have to take a step back and think about what is being said to really understand the true satire that Modern Times actually is – in a way it works on two levels, the slapstick for the lowest common denominator, and the satire of those who are actually willing to sit down and think about what is going on. Even then the slapstick itself is really clever – I am not going to forget the scene where he carries a tray into a restaurant to have everybody suddenly pile onto the dancefloor and then getting carried away with the crowd.What really impressed me was how versatile they were when it came to making silent films. Sure, by this time they had started to produce talkies, and you could tell that this film did have a sound track (and Chaplin even sings), however it is clear that you don't actually need sound, or even a lot of words, to be able to see the action that is happening, and to work out what is being said despite the fact that no words are coming out of the actor's mouth – only their lips are moving. In a way this type of film is actually far, far superior than many of the films that we see floating around today with all the great computerised special effects and clever stunt doubles. In fact all of the stunts in this movie would have been performed by Chaplin without any special effects whatsoever.Yet it is also interesting to see how much hasn't changed. In a way we look back in the days of our parents and grandparents and see a world where everybody had a job, and that you could drop out of school at year ten and walk straight into a career. It was also a world where people had money, and things were much more peaceful. However, Modern Times gives us a different glimpse into the great depression, where automation was taking all the jobs, and that unless you were skilled you were unable to find employment. Also notice how people are being sent to gaol simply for stealing a loaf of bread, but not only that but people will actually pursue somebody who is only trying to feed themselves. Yet we also have that dream of home ownership – and in a way it is painted that owning a home is a sign of wealth, a sign of achieving the American Dream – and the ending is interesting in that it gives the idea that no matter where you land up the dream is still alive.Having a job is a key to living the dream – as we see with the heroine. When Chaplin gets out of gaol the third time (it seems that he is always landing up in gaol – as if ending up there is just a part of life, however it is also just a minor inconvenience on the road to living the dream), she has found herself a job, and is now dressed well, and has possessions. In a way that reminded me of when I got my first job – suddenly I had money that I could spend, and I could go down to the shop and impulse buy an Iron Maiden T-Shirt. However, there is a catch, something that is not indicated in the movie, and that is the trap that the modern society creates – to survive you must work, but once you start working you suddenly have access to credit, and what credit, or more so debt, does is that entraps you in that daily cycle of forever going to work.Yet we also have the capitalist idea of forever producing more and becoming more efficient. The factory bosses are looking for ways to cut down on break times, so they create an automated feeding machine (which basically doesn't work). Then we have the assembly line going faster, and faster, and faster, until poor old Chaplin has a nervous breakdown and eventually sees bolts everywhere that must be turned. Yet this is still the case today, where employers are looking for more and better ways to become more efficient, to get more out of workers, and to eventually increase the bottom line. This is more so since, like in Chaplin's day, we have entered a period of a new normal after the Great Recession.

lasttimeisaw Mr. Chaplin's pièce-de-résistence, MODERN TIMES is his last silent feature, but rendered with an innovative adulteration of sound voices solely from mechanical devices, barring Chaplin's near-end humorous performance of THE NONSENSE SONG, for the very first time, audience hears the maestro's real voice from the screen in a gibberish ditty, one could only imagine the hype and excitement at then. MODERN TIMES introduces Chaplin's iconic screen alter-ego aka. little tramp as an assembly-line worker in the Depression era, the factory's pristine props hark back to Fritz Lang's METROPOLIS (1927), but less futuristic, more realistic in its scale of grasping capitalism under the efficiency- prioritizing doctrine whereas a proletariat like the tramp, has no means to secure an auspicious future and is inescapably subjected to the exploitation by the industrialized society, picked as a guinea pig for a novel lunch-feeding contrivance, constantly under the duress of the ever- accelerating assembly-line, after being engorged by it (a brilliant surreal light-touch), he is driven mad and wreaks havoc on the machine and is sent to hospital, subsequently, being mistaken as a Communist and thrown into the prison, where he accidentally becomes a hero by thwarting a jail- break attempt, but ironically because he is high on cocaine, which he mistakes for salt in his lunch. Yet, whenever he is given a new lease on life, reality will cunningly squash his effort although in some cases, he has only himself to blame for. There is a skewering political spin aiming at the modernized assembly line, the humongous machines, the callous industrialists and the oppressive authority, being buried underneath the surface of bang-up farces, which has been scarcely actualized in Chaplin's works before. The plot mainly consists of a string of superlative skits de rigueur, which is completely in Chaplin's elements, the tramp's free-flowing pantomime, delightful slapstick and ingeniously devised set pieces (although the stomach-churning duet crops up as a head-scratcher) are typically endearing to watch, what is more astonishing is how he can make tough stunts look incredibly effortless, in particular with sleight of hand, an arresting trompe l'oeil is accomplished when he roller-skates blindfold against a matted painting which puts viewers at the edge of their seats for his safety. The story also presents a fiery heroine, the gamin (Goddard), a recently orphaned girl who is anything but a damsel-in-distress, Goddard, although is not endowed with Chaplin's bent of physical comedy, is impeccably elemental in foregrounding the gamin's gallantry and loveliness, takes on a weighty counterpart against the tramp's unostentatious playfulness, together, they help each other out in the difficult times, share bitter-sweet moments. A self-encouraging coda might betray Chaplin's precaution that comedy has its built-in calling to look on the brighter side, by and large, MODERN TIME is a reverberating showcase of Chaplin's competence which further transcends its time and context.