Ramp Lights. Probably, every eminent director will find a similar film. A film through which the real, not far-fetched live pain is passed. Pain for others, pain for relatives, pain for oneself, pain that is impossible to keep in oneself. “Lights of the Ramp” is not only the last film of Chaplin to shameful (not for him, but for the people who provided it) exile and not only the story of a sad clown and a self-confident ballerina, but rather some summing up of the life and creative path by Chaplin himself. A story impregnated with sadness, which is sometimes skillfully hidden behind encouraging speeches, merry grimaces and ostentatious unconcern. The sadness that you want to drown in a glass, but which is still unsinkable. The sadness of the fact that you are already unable to love and even greater sadness because someone else loves you. We hurt those we love, but by doing this, we cause ourselves more.
Have you ever thought about the fate of the elderly and thrown to the side of the lives of artists, athletes, writers? Often, after all, a person who has completely surrendered himself to any business turns out to be simply unsuitable for ordinary life. They can be compared with former prisoners who have served many years of imprisonment, - here he enters the real world and does not recognize anything in it, looks at others around with a wolf. And if the latter is often awaited either by a reverse “walk” or a logical result in the form of a drunken brawl and a slow death in a dirty gateway with a knife under the edge, then the first one will revive in our memory at best, an article in the yellow press under the typical heading in "Gone from us ..."
Chaplin, of course, the Great Comedian, but even a great comedian sometimes gets tired of making people in the street on the other side of the screen or the scene laugh, and the viewer who will be able to listen to this confession is good. And life tells us that the confessions of people of such a fun profession are sometimes the saddest in the world. If you remember Chaplin as a mischievous vagabond in “Lights of the big city”, then in other “Lights ...” you will risk not even knowing how old and leaned he was, how serious he became, but, most importantly, how much his eyes have grown dull. There were certainly reasons for this. Even the film is not able to contain this pain.
Screen Calverao is his self-portrait. Rub with very seriously condensed paints and decadent moods. He has a big name. It was. He has whole rooms full of spectators. Were He gave fun to people. Sometime What now? Those in power are kicking him, former associates are looking down at him indulgently, he is angry with himself, he has lost his pride, along with the opportunity to make fun and faith in the best. He is bankrupt in every sense. And all this now. Therefore, so sad. In such situations, such vulnerable people just need our support the most. And what are we doing? Often, we act like that soulless crowd that left the hall, interrupting the performance with stupid chuckles and leaving it alone with the empty hall.
Instead, it is worth only, sometimes even disingenuously, to smile, to cheer the doubting clown, to sit out until the end, to splash several times in the palm of your hand, to pat approvingly on the shoulder, thus as if saying: “Stop doubting, this is a temporary failure, everything will pass.” Is it really that hard to do ?! Well, when there are such, and conditional Calvero will be able to play his number and find the strength to play the final benefit performance. If not - oblivion, depression and obituary on the last page of a regular publication.
Few Chaplin films, where the rest of the actors would like to praise no less than Charlie himself. This, firstly, concerns, of course, Claire Bloom, who played the very ballerina that Calvero, being tipsy, saved from suicide, and even took her for a girl who was not of the most difficult behavior. This and Buster Keaton - another silent film star, appearing in a key episode of the film. His slightly puzzled look will be remembered for a long time. Two stars of silent black-and-white cinema look very symbolic at the time of full-blown sound color cinema, on a theater stage with a dumb old-fashioned number. This and relatives of Chaplin, among whom it is worth to highlight the son of Charlie Sidney. This and Nigel Bruce in the role of "forever afloat" Postand. The smallest roles are thought out and performed at the highest level. It feels as if along with the costume of the Little Tramp behind the scenes there are more Chaplin-director left. As if according to Freud, the unused energy of his inalienable image passed into the director's skill, which reached, perhaps, the very peak in his career.
Have you ever thought about the fate of the elderly and thrown to the side of the lives of artists, athletes, writers? Often, after all, a person who has completely surrendered himself to any business turns out to be simply unsuitable for ordinary life. They can be compared with former prisoners who have served many years of imprisonment, - here he enters the real world and does not recognize anything in it, looks at others around with a wolf. And if the latter is often awaited either by a reverse “walk” or a logical result in the form of a drunken brawl and a slow death in a dirty gateway with a knife under the edge, then the first one will revive in our memory at best, an article in the yellow press under the typical heading in "Gone from us ..."
Chaplin, of course, the Great Comedian, but even a great comedian sometimes gets tired of making people in the street on the other side of the screen or the scene laugh, and the viewer who will be able to listen to this confession is good. And life tells us that the confessions of people of such a fun profession are sometimes the saddest in the world. If you remember Chaplin as a mischievous vagabond in “Lights of the big city”, then in other “Lights ...” you will risk not even knowing how old and leaned he was, how serious he became, but, most importantly, how much his eyes have grown dull. There were certainly reasons for this. Even the film is not able to contain this pain.
Screen Calverao is his self-portrait. Rub with very seriously condensed paints and decadent moods. He has a big name. It was. He has whole rooms full of spectators. Were He gave fun to people. Sometime What now? Those in power are kicking him, former associates are looking down at him indulgently, he is angry with himself, he has lost his pride, along with the opportunity to make fun and faith in the best. He is bankrupt in every sense. And all this now. Therefore, so sad. In such situations, such vulnerable people just need our support the most. And what are we doing? Often, we act like that soulless crowd that left the hall, interrupting the performance with stupid chuckles and leaving it alone with the empty hall.
Instead, it is worth only, sometimes even disingenuously, to smile, to cheer the doubting clown, to sit out until the end, to splash several times in the palm of your hand, to pat approvingly on the shoulder, thus as if saying: “Stop doubting, this is a temporary failure, everything will pass.” Is it really that hard to do ?! Well, when there are such, and conditional Calvero will be able to play his number and find the strength to play the final benefit performance. If not - oblivion, depression and obituary on the last page of a regular publication.
Few Chaplin films, where the rest of the actors would like to praise no less than Charlie himself. This, firstly, concerns, of course, Claire Bloom, who played the very ballerina that Calvero, being tipsy, saved from suicide, and even took her for a girl who was not of the most difficult behavior. This and Buster Keaton - another silent film star, appearing in a key episode of the film. His slightly puzzled look will be remembered for a long time. Two stars of silent black-and-white cinema look very symbolic at the time of full-blown sound color cinema, on a theater stage with a dumb old-fashioned number. This and relatives of Chaplin, among whom it is worth to highlight the son of Charlie Sidney. This and Nigel Bruce in the role of "forever afloat" Postand. The smallest roles are thought out and performed at the highest level. It feels as if along with the costume of the Little Tramp behind the scenes there are more Chaplin-director left. As if according to Freud, the unused energy of his inalienable image passed into the director's skill, which reached, perhaps, the very peak in his career.
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