#78: Modern Times (1936)

I'm really relieved to get this movie under my belt.  As a movie fan, I can now say that I've seen a Charlie Chaplin film.  Chaplin and his character, the Tramp, has to be one of the most well known icons in film history, yet, I bet a big percentage of America's population has never seen any of his work.  I now have the privilege to be on the other side of this bracket.

If you were wondering if he is worth all the hype, he indeed is.  His comic timing and movements in Modern Times are so natural and fluid.  I would find myself time after time pulling myself away from the comic antics on screen to reflect on Chaplin's unique genius.

Modern Times is a perfect title for this film because it describes the movie perfectly but also imitates life because it is known as one of the last silent films that was made in the new modern era of the "talkie" film.  The film follows the Tramp in and out of scenarios where he struggles to make a living.  He can never seem to keep up with the labor force of factory work or the demands of a waiter job, but with the help of a new found romance with A Gamin (Paulette Goddard), the two are still able to find hope in a society that seems to be leaving them behind.

I think this movie has made more of an impression on me as I write about it at this moment than when I was watching it.  The comedic set pieces make you forget about the thematic elements that Chaplin weaves throughout the movie.  He uses sound effects only for machinery and there is some spoken dialogue, but only when it is from the police radio or through the intercom system used by his factory boss.  But I don't want to underplay the comedy.  Chaplin is constantly throwing gags at you that are memorable and hilarious

The only downfall of the movie is that sometimes the scenes seem to exist just for Chaplin to develop humor instead of developing a plot.  Scenes come off more like SNL skits at times, but what do I know? Maybe the 1934 audience was infuriated with the brutal economy, so all they were looking for was laughs.  Chaplin could clearly see that there was a movement that was leaving him behind, and although the ending of this movie is somewhat bleak, he instills a hope within his characters that can't help but spill into the viewer.  Life is bleak more often than not, but as the last title card states, "Buck up - never say die.  We'll get along!"

I give Modern Times 4 out of 5 smuggled "nose powder."

#85: A Night at the Opera (1935)

Whenever you think of classic comedic acts, the Marx brothers are on the top of the list with the likes of Charlie Chaplin and Buster Keaton. I would dare to say, the first big act of the "talkie" era. It had been a while since I had seen this film, but their use of one-liners and physical comedy had always stayed fresh in my mind. Their sense of comedic chaos was always something I admired, so that's why I was very surprised that I couldn't fully enjoy this film as much as I wanted to. A Night at the Opera attempts to reign in their comedy with plot and story-line, and this is one of the few times that I think this is a bad thing.

Groucho, Chico and Harpo play… well, it's a little confusing what roles they actually play, but through their antics they try to bring two lovers together who are talented opera stars. The boyfriend is trying to catch a break, so the Marx brothers ban together to get rid of the evil, leading tenor so he can become famous. Set mainly in the opera house and a cruise ship, the brothers constantly become intruders and stowaways in the name of love.

Don't get me wrong, the movie is funny and that is a key ingredient. The problem lies in the fact that there are story elements that sometimes completely disregard the existence of the Marx brothers. There are musical numbers with the opera singers that are just plain boring, and even when the Marx brothers are featured in a musical number, it comes across more appropriate for one of their vaudeville shows than for the screen. I was often left just waiting for the comedy to kick back in, and trust me, when it does, it's pretty memorable. It's not really until the last scene where the director lets the Marx brothers do what they do best… create comedic anarchy.

At its core, this is still a very entertaining movie. If you've never seen a Marx brothers film, you'll be pining to see more after this one. It's just that I can't wait to watch Duck Soup (their other film on this list) that is more perfectly bound in what the brothers do best. So, maybe this is a better movie to see first so that you are void of disappointment when you see some of their other films.

If I weren't tempted to fast-forward some scenes, this film would definitely receive a better rating from me, but I only blame the director for stifling such great talent.

I give A Night at the Opera 3 out of 5 crowded cruise rooms.