the modern times movie review

Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, modern times.

Now streaming on:

A lot of movies are said to be timeless, but somehow in their immortality they fail to draw audiences. They lead a sort of half-life in film society revivals, and turn up every now and then on the late show. They're classics, everyone agrees, but that word "classic" has become terribly cheap in relation to movies. It's applied so promiscuously that by now the only thing you can be sure of about a "film classic" is that it isn't actually in current release. One of the many remarkable things about Charlie Chaplin is that his films continue to hold up, to attract and delight audiences. Chaplin hasn't really been active in movies for 20 years, aside from " A King in New York " in 1957 and the unfortunate "A Countess from Hong Kong" five years ago. The millions of followers and fans who cheered him in his Little Tramp days are now mostly a memory; if 85 per cent of the American movie audience is under 35, as industry statistics claim, then 85 per cent of Charlie's original audience must probably be over 35. So his decision to release a series of his best films must have sometimes seemed like a risk. His name is enshrined among the greatest geniuses of film; the French have a movie magazine titled simply Charlie, and Vachel Lindsay said a long time ago, "The cinema IS Chaplin." He had proven his greatness in every possible way; but then, at 81, he decided to put some of his films on the market again and see how they fared. They are faring very well, you might say. Here in Chicago they've been booked in the Carnegie Theater, where the staff hardly knows what hit it. "Modern Times" (1936), the first of seven Chaplin programs, was SRO all weekend, and when I saw it on Sunday afternoon, the audience was just about beside itself with delight. I go to a lot of movies, and I can't remember the last time I heard a paying audience actually applaud at the end of a film. But this one did. And the talk afterward in the aisles, the lobby and in line at the parking garage was genuinely excited; maybe a lot of these people hadn't seen much Chaplin before, or were simply very happy to find that the passage of time have not diminished the man's special genius. "Modern Times" was Charlie's first film after five years of hibernation in the 1930s. He didn't much like talkies, and despite the introduction of sound in 1927, his " City Lights " (1931) was defiantly silent. With "Modern Times," a fable about (among other things) automation, assembly lines and the enslaving of man by machines, he hit upon an effective way to introduce sound without disturbing his comedy of pantomime: The voices in the movie are channeled through other media. The ruthless steel tycoon talks over closed-circuit television, a crackpot inventor brings in a recorded sales pitch, and so on. The only synched sound is Charlie's famous tryout as a singing waiter; perhaps after Garbo spoke, the only thing left was for Charlie to sing.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

Now playing

Clint Worthington

Jeanne du Barry

Sheila o'malley.

Taking Venice

Matt zoller seitz.

Tomris Laffly

Nightwatch: Demons Are Forever

Simon abrams.

Turtles All the Way Down

Peyton robinson, film credits.

Modern Times (1972)

Latest blog posts.

Cannes 2024: The Seed of the Sacred Fig, All We Imagine as Light, The Most Precious of Cargoes

Cannes 2024: My Sunshine, Rumours, The Balconettes

Cannes 2024: On Becoming a Guinea Fowl, The Village Next to Paradise, Viet and Nam

Reclamation Through Restoration: Thelma Schoonmaker Talks Michael Powell, Martin Scorsese and Peeping Tom

The Student-Run News Site of College of Lake County

The Chronicle

Arts & Entertainment

Analyzing Charlie Chaplin’s “Modern Times”

Photo courtesy of Wikimedia commons

Ciara White , Co-Managing Editor/A&E Editor November 3, 2021

I recently watched Charlie Chaplin’s “Modern Times,” a 1936 comedy about the hardships that come with living in an industrialized world. The movie is entertaining, hilarious, and often considered one of Chaplin’s more critically acclaimed pieces.

Charlie Chaplin is an English actor who, in the early 1900s, rose to fame and popularity in the silent film industry. He became most recognizable through his iconic Tramp character, a social outcast with a kind heart. In “Modern Times,” the Tramp finds himself living amidst poor financial conditions heightened by massive unemployment.

The Tramp character is endearing. Although he makes countless mistakes—like accidentally sending a boat off to sea or getting swallowed by a factory machine—he adds a layer of social commentary.

Despite his good nature, the Tramp always seems to find himself in bad situations. For example, he gets arrested several times throughout this movie, once because he is suspected of being a communist, which is not the case. By having the Tramp be so genuine and likable, it suggests that he is not the problem. Society is.

Chaplin suggests that authority takes advantage of the working class and prioritizes efficiency over humanity.

When watching the movie, it is important to recognize the context of the time period. In 1936, Americans were dealing with the Great Depression and the effects of the country’s longest and worst economic downturn. Many Americans were poor and unemployed, and that is shown clearly throughout the movie.

“Modern Times” does not shy away from showing the horrors of American life at the time. Despite its comedic nature, the movie has a tragic core. Our main character works at a factory, whose unfair working conditions drive him to a nervous breakdown. Multiple characters–including the Tramp–steal to survive and strikes occur frequently.

This movie also came during the “red scare,” a time when Americans feared leftism and communism, or, quite frankly, anyone sympathetic to workers and labor.

While I liked the movie first because of its humor and incorporation of a favorite song, “Smile”—which I will touch on later—its value goes beyond that. Standing as a timeless social commentary, the movie gives its audience insight into the era’s worries and thoughts regarding employment and capitalism.

Those ideas can still apply today, and the message of “Modern Times” remains relevant.

Because of the stock market crash of 1929, the U.S. went from being an economic power to a floundering country unable to recover. Hoover was a dangerous laughingstock for his inability to help, and the Great Depression lasted well into FDR’s presidency. It was primarily World War II that allowed the United States reprieve and recovery.

The COVID-19 pandemic has also hit the American economy severely. With businesses shutting down and millions of people losing their jobs, the unemployment rate rocketed. People struggled to make ends meet, whereas the high, mighty corporations prospered, which is also true for the Great Depression.

A key difference, however, is the worker shortage the nation is experiencing today. Whereas people in the Great Depression wanted jobs—and were unable to get them—businesses today are struggling to find workers. While COVID-19 might be a primary factor in this, the issue is complex.

“Modern Times” speaks on that complexity.

One idea frequently discussed today is the exploitation of labor. Workers are unhappy with how they’re treated by management, and they will not force themselves to endure that.

Communism was attacked in the 1930s, but there was also skepticism with capitalism. If the Great Depression showed anything, it showed that capitalism can fail. It can also be a system that dehumanizes people.

The opening clip of the movie shows sheep running in a field, implying that workers are sheep. Chaplin shows how employment and capitalism value practicality over individuality of the workers, stripping employees of any personality or autonomy. Corporations and companies own the workers, and multiple shots suggest that work eats its workers, using and abusing them until they’re exhausted or driven mad.

Chaplin saw the assembly line as abusive, and the character he plays works in a factory. It makes me wonder what Chaplin would think of conditions today. Would he believe that they’re better–or worse?

These messages tend to be very dark and disheartening, but that is not how Charlie Chaplin ended the movie. Despite any statements he wanted to make about class differences or working conditions, his movie ends with hope. Through the use of music to set the mood, the Tramp character decides that no matter how bad his life is, he can still be happy because of the love he has for the people around him.

The music used became the song “Smile,” which is among my favorites. In 1976, it was a melody that acted as a motif, but it would later receive lyrics based on the inter-titles in the film. When the Tramp and his companion—called the Gamin—have just lost their jobs and are being chased by the police, they realize that they do not need material things to be happy. They walk into the horizon together. There is something powerful with that final image.

The lyrics say, “Smile, what’s the use of crying? / You’ll find that life is still worthwhile / if you just smile.”

Chaplin’s powerful idea has lasted 85 years.

Entertainment can stand as a mirror, allowing us to see into the attitudes and worries of any time period. While it can give us a better understanding of a time, it can also act as a timeless resource of self-reflection, where we can look upon our society today and see if things have improved.

Have things changed and changed enough? “Modern Times” still prompts us to ask the hard questions, but it also reminds us to smile at every dawn.

Charlie Chaplin
Modern Times
movie review

Analyzing Charlie Chaplin’s “Modern Times” • 555 Views

Photo courtesy of the Michigan Sex Offender Registry

The most horrific coverup in hockey history • 125 Views

"Savior Complex" provides an anthem for complicated relationships • 118 Views

Is banning books a good idea? • 61 Views

From being a patient to working in healthcare • 59 Views

Gerwig’s feminist ‘Barbie’ tells women to be strong and cut themselves some slack, CLC professor says

OASIS offers a haven for students

CLC connects through podcast

Will AI shape the future of music?

The poster of Hidden Figures, Courtesy of Printerval.

“Hidden Figures” tells a story about those who are overlooked in history

Brittany Howard, Courtesy of Inakii Espejo-Saavedra.

Howard, West find meaning in post-pandemic music

Academy awards’ diversity rules spark Hollywood wake-up call

The Mountaintop, Courtesy of JLC Theater

Why you should go see CLC’s “The Mountaintop” play

Have a great Thanksgiving!

Get ready to be spooked with these Halloween movie recommendations

The Student-Run News Site of College of Lake County

Modern Times

Blu-ray edition reviewed by Chris Galloway
November 25 2010

See more details, packaging, or compare

Modern Times , Charlie Chaplin’s last outing as the Little Tramp, puts the iconic character to work as a giddily inept factory employee who becomes smitten with a gorgeous gamine (Paulette Goddard). With its barrage of unforgettable gags and sly commentary on class struggle during the Great Depression, Modern Times —though made almost a decade into the talkie era and containing moments of sound (even song!)—is a timeless showcase of Chaplin’s untouchable genius as a director of silent comedy.

Picture 9/10

Extras 9/10

You Might Like

The Great Dictator (Blu-ray)

City Lights (DVD/Blu-ray)

Monsieur Verdoux (Blu-ray)

Log in or sign up for Rotten Tomatoes

Trouble logging in?

By continuing, you agree to the Privacy Policy and the Terms and Policies , and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes and to receive email from the Fandango Media Brands .

By creating an account, you agree to the Privacy Policy and the Terms and Policies , and to receive email from Rotten Tomatoes.

Email not verified

Let's keep in touch.

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

Upcoming Movies and TV shows
Trivia & Rotten Tomatoes Podcast
Media News + More

By clicking "Sign Me Up," you are agreeing to receive occasional emails and communications from Fandango Media (Fandango, Vudu, and Rotten Tomatoes) and consenting to Fandango's Privacy Policy and Terms and Policies . Please allow 10 business days for your account to reflect your preferences.

OK, got it!

Movies / TV

No results found.

What's the Tomatometer®?
Login/signup

Movies in theaters

Opening this week
Top box office
Coming soon to theaters
Certified fresh movies

Movies at home

Fandango at Home
Netflix streaming
Prime Video
Most popular streaming movies
What to Watch New

Certified fresh picks

Furiosa: A Mad Max Saga Link to Furiosa: A Mad Max Saga
Hit Man Link to Hit Man
Babes Link to Babes

New TV Tonight

Eric: Season 1
We Are Lady Parts: Season 2
Geek Girl: Season 1
The Outlaws: Season 3
Gordon Ramsay: Uncharted: Season 4
America's Got Talent: Season 19
Fiennes: Return to the Wild: Season 1
The Famous Five: Season 1
Couples Therapy: Season 4
Celebrity Family Food Battle: Season 1

Modern Times Reviews

Emblematic of a ‘Hollywood realism,’ with a rather immaculate industrial setting, strategically tattered clothing and deliberately designed destitution.

Full Review | Nov 15, 2023

The surreal scene of Chaplin being wound through the gears of the factory machinery remains one of the most iconic images in film history: the little guy who manages not to get ground up in the machine.

Full Review | Jun 11, 2023

Modern Times was Chaplin's last brilliant foray into that singular craft that made him a great artist: a pantomime.

Full Review | Original Score: 4/4 | Mar 21, 2022

Chaplin at his most inventive and ingenious.

Full Review | Mar 11, 2022

It's the greatest comedy - and funniest movie - of all time. ... But, as with most of Chaplin's other films, it'll also make you cry your eyes out.

Full Review | Original Score: 5/5 | Nov 28, 2021

Several high spots stand out as notable examples of Chaplin's expert timing of slapstick burlesque, scenes that are apt to make the spectator shed tears from the strain of laughter.

Full Review | May 6, 2021

The sequence in which the modern mechanical feeder for workers is introduced is a gem of comedy invention. It is one of the funniest episodes, and certainly the most ingenious.

There are reminders of every Chaplin picture that was ever made all through Modern Times and there are enough brand new comic inventions to explain why Charlie takes such a long time between pictures and why they are so superlatively worth waiting for.

What most amazes you about Modern Times, is the fact that, in this day of superfine sound films, it says everything without saying anything.

In many ways Modern Times is old-fashioned film comedy, but it is the kind of comedy which has made millions of people laugh all over the world and which has won Mr. Chaplin the great affection and love.

While he has borrowed a few symbolic touches from the Russian picture makers, there is nothing of real significance in Chaplin s work except his earnest desire, and his really great ability, to entertain.

Full Review | Original Score: 3/4 | May 6, 2021

Modern Times, underneath its farce, is a curiously passionate jibe at the herd-instincts and herd clangour of a machine age.

The monotony of this Job "gets" Charlie and he runs wild, attacking everything and everybody in view with his brandished wrenches in one of the funniest scenes ever filmed.

Miss Goddard put us in mind more of a ballet dancer in portraying her role than a screen player, which fits in, on the whole, rather well with Chaplin's style. She's attractive and has charm.

It is episodically hilarious but never consistently so, and you come away from the Penn remembering, not so much the heroic Chaplinesque figure as a nut-and-bolt factory, a red flag, a feeding machine and a song.

It doesn't seem possible to inject a large quantity of heart appeal in a heavily gagged-up comedy but Chaplin does it. That's Chaplin's forte, and that's what distinguishes his comedies from all others.

Chaplin exhibits his amazing versatility in the fast-forgotten art of pantomime and makes you laugh when you had perhaps expected to cry.

Remaining silent, Charlie is more eloquent in pantomime than many other comedians are with the added use of spoken words. Poking gentle fun at mechanized industry, Charlie is comic indeed.

Full Review | Original Score: 4/4 | May 6, 2021

Five years absence from the screen has not diminished Chaplin's art. In his usual fashion, he can provoke laughs or tears, and keep the audience absorbed in whatever he is doing.

What begins as a rather heavy lampooning gets lost in a series of first-rate slapstick acts and ends up as an idyll. Modern Tunes is, of course, funny picture; it Is also a very disappointing one.

Common Sense Media

Movie & TV reviews for parents

For Parents
For Educators
Our Work and Impact

Or browse by category:

Get the app
Movie Reviews
Best Movie Lists
Best Movies on Netflix, Disney+, and More

Common Sense Selections for Movies

50 Modern Movies All Kids Should Watch Before They're 12

Best TV Lists
Best TV Shows on Netflix, Disney+, and More
Common Sense Selections for TV
Video Reviews of TV Shows

Best Kids' Shows on Disney+

Best Kids' TV Shows on Netflix

Book Reviews
Best Book Lists
Common Sense Selections for Books

8 Tips for Getting Kids Hooked on Books

50 Books All Kids Should Read Before They're 12

Game Reviews
Best Game Lists

Common Sense Selections for Games

Video Reviews of Games

Nintendo Switch Games for Family Fun

Podcast Reviews
Best Podcast Lists

Common Sense Selections for Podcasts

Parents' Guide to Podcasts

App Reviews
Best App Lists

Social Networking for Teens

Gun-Free Action Game Apps

Reviews for AI Apps and Tools

YouTube Channel Reviews
YouTube Kids Channels by Topic

Parents' Ultimate Guide to YouTube Kids

Real-Life Heroes on YouTube for Tweens and Teens

Family Tech Planners
Digital Skills
All Articles
Latino Culture
Black Voices
Asian Stories
Native Narratives
LGBTQ+ Pride
Best of Diverse Representation List

Celebrating Black History Month

Movies and TV Shows with Arab Leads

Celebrate Hip-Hop's 50th Anniversary

Modern times, common sense media reviewers.

Families will cherish Chaplin's silent slapstick.

A Lot or a Little?

What you will—and won't—find in this movie.

Viewers get a picture of U.S. life during the Grea

Made during and set in the Great Depression, the f

In this film, silly thinly disguises profound. Cha

Lots of cartoon action and sight gags without any

Padres y cuidadores: establezcan límites para las

The word "darkies" is heard in one song

Hills Bros., Morton salt.

Chaplin's Little Tramp accidentally gets drunk

Educational Value

Viewers get a picture of U.S. life during the Great Depression and labor struggles. And kids learn what it's like to watch a silent movie.

Positive Messages

Made during and set in the Great Depression, the film is clearly a pointed comic study of haves and have-nots and a celebration of resilience in the face of great adversity. The initial frame of the picture announces that it is "a story of industry, of individual enterprise -- humanity crusading in the pursuit of happiness." Themes include integrity and perseverance.

Positive Role Models

In this film, silly thinly disguises profound. Chaplin's seeming cluelessness, clumsiness, and tendency to make mistakes of gigantic proportion cover an honest, hardworking, generous, and optimistic nature. The needy and unemployed are portrayed with compassion; the rich are callous, unforgiving, and selfish. In one very obvious visual comparison, men at work are equated with sheep. The female co-lead is clever, brave, and independent.

Violence & Scariness

Lots of cartoon action and sight gags without any injury or consequence. Characters get bopped on the head, squirted with oil, kicked in the rear, fall in the water, and have portions of buildings fall on them. There are assorted scenes with man battling machines: getting caught in their mechanisms and being hit in the face with the levers and parts. Gun shots go awry; innocents as well as the guilty are chased by police and held at gunpoint by thieves. Several sequences depict striking workers and the poor rioting against the authorities. The only serious violent act occurs when a man lies dead in the street, a victim of a gunshot during rioting. His daughter grieves at the sight of his body.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Padres y cuidadores: establezcan límites para las cosas de índole sexual en los contenidos de sus hijos con Plus. Únete ahora

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

The word "darkies" is heard in one song lyric.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

Chaplin's Little Tramp accidentally gets drunk when alcohol pours out of a barrel; he wobbles and is bleary-eyed. Several athletes appear drunk in a restaurant melee. In a prison scene that was controversial even when the film was made, Chaplin mistakes white "nose powder" for salt, ingests it, and appears to be "under the influence."

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that beneath the silent film slapstick comedy and the artistry of Chaplin in Modern Times there is a serious political thread that pits the working man against powerful authority figures. So while kids will be thoroughly entertained by sight gags, comic mayhem, and outrageous characters, grownups and teens will see razor-sharp commentary about class differences and the struggle of the poor and middle class. Action is vintage farce -- pratfalls, bumps on the head, man vs. machine, errant gunshots, and car chases. There is one brief but serious moment when a man is killed during a workers' riot. Several scenes show characters smoking and others involve drunkenness. One lengthy sequence finds Chaplin accidentally ingesting smuggled white "nose powder," and behaving erratically afterward. Though most of the film is silent, there are some synchronized sound effects and singing. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

Parents say (13)
Kids say (11)

Based on 13 parent reviews

Not one of the funniest Chaplin, but easily one of his most engaging!

Toteporetermerter56 elia shllaku vaihiqivqivq., what's the story.

MODERN TIMES is about two people struggling with the isolation of the industrial era. Charlie Chaplin (simply called "A worker" in the credits) is an assembly line worker who loses his job after a work accident. Soon he finds himself leading a communist parade while just trying to return a red flag to a man who dropped it, and is sent to prison. When he comes upon an attempted escape, Chaplin captures the prisoners and releases the guards, and is pardoned because of his heroism. Chaplin soon is determined to go back to jail, and finds his chance when he sees a poor girl ( Paulette Goddard ) stealing bread, and confesses that it was he who stole it. But a witness identifies Goddard. After a series of missteps and trips through jail, Chaplin and Goddard eventually walk off into the sunset together.

Is It Any Good?

Children will adore the slapstick in this movie, especially the scenes where Chaplin tries out the feeding machine and when he experiments with roller skates at the department store.

Viewers have to remind themselves how prescient Modern Times was. To us, it may not be surprising that the boss watches the workers on-screen, but this was before the invention of television -- and more than a decade before the publication of Orwell's 1984 . Interestingly, it was several years after the invention of the talkies. But Chaplin wanted to make a silent movie, and silent this one is, except for a few words, some sound effects, and a gibberish song.

Talk to Your Kids About ...

Families can talk about the Depression and the concerns about the dehumanizing effect of technology that are a part of Modern Times . Why did the boss want Chaplin to try the eating machine? What would Frank Gilbreth of "Cheaper By the Dozen" think of the machine?

Why did Chaplin want to go back to jail? Why didn't Goddard want to go to jail? Did Chaplin want you to think that prison was like the factory? Better? How can you tell? How did Chaplin and Goddard differ in their reactions to their troubles?

High school kids: Why was Chaplin arrested for leading the communist parade? Does that violate the freedom of speech guaranteed by the First Amendment?

In what way is a silent film different from a "talkie" -- besides the fact that it's silent?

How doe the characters in Modern Times demonstrate integrity and perseverance ? Why are these important character strengths ?

Movie Details

In theaters : February 25, 1936
On DVD or streaming : March 14, 2000
Cast : Charlie Chaplin , Henry Bergman , Paulette Goddard
Director : Charlie Chaplin
Studio : United Artists
Genre : Classic
Character Strengths : Integrity , Perseverance
Run time : 103 minutes
MPAA rating : NR
Last updated : July 5, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

Our editors recommend.

City Lights

Want personalized picks for your kids' age and interests?

Horse Feathers

Mr. Deeds Goes to Town

Best classic comedy films, classic books for kids, related topics.

Perseverance

Want suggestions based on your streaming services? Get personalized recommendations

Common Sense Media's unbiased ratings are created by expert reviewers and aren't influenced by the product's creators or by any of our funders, affiliates, or partners.

Modern Times Review

05 Feb 1936

Modern Times

It's presumed that Chaplin's key target in his swan song to the silent era, Modern Times, was the impact of the Depression and the dehumanising nature of industry. But it's as easy to see it as an attack on Hollywood's transformation into a film factory, which suppressed individual inspiration in favour of bankable movies for the masses.

Another myth worth dispelling is that it was a political statement reflecting Chaplin's radical views. This notion has arisen from references to such Soviet classics as Pudovkin's Mother (the scene in which Charlie picks up the red flag and finds himself at the head of a workers' demonstration) and the fictitious claims of Kremlin film chief Boris Shumyatsky that he persuaded Chaplin to append an anti-capitalist finale. The film's banning by the Fascists in Germany and Italy, and Chaplin's hounding by the House Un-American Activities Committee further fanned the flames of Communist collusion.

But Modern Times was nothing more than another instance of the Little Tramp taking on the system, as he had done throughout his career. Indeed, it has more in common with the liberal parables that Frank Capra was producing in the same period than with Stalinist agitprop. Equally, the scenes in which Charlie and Conklin get stuck in the machinery are as much a lampoon of Constructivist montage sequences like those in Eisenstein's Old And New than an endorsement of Stalin's Five-Year Plan, which was even more brutally exploitative than any fat cat enterprise in the West.

Chaplin clearly resented the way mechanised society had turned individuals into drones, and vented his disgust in the hilarious episodes with the conveyor belt and the automatic feeding machine. But he was also prepared to accept that labour was a means to an end, hence Charlie's scramble to secure a job at the re-opened factory to help the gamin realise her twee and shamelessly bourgeois dream of a cosy cottage.

This is an ambitious, accomplished and frequently uproarious comedy. The exuberant energy of Charlie's manic bolt-twisting at the factory, his hallucinatory heroics during the prison riot (prompted by someone slipping ëjoy powderí into a salt cellar), and his blindfold rollerskating balletics were remarkable for a 45 year-old who had been largely inactive for four years. Moreover, they proved that pantomime still had a place - even in an age of wisecracks and screwball.

The Definitives

Critical essays, histories, and appreciations of great films

Modern Times

Essay by brian eggert august 25, 2008.

Asymmetrical in form, he cuts a distinctive figure. His derby hat rests upon his head at an angle, its slant accentuated by the straightness of his suspenders and the forced lines of his tight-buttoned coat. Air fluffs his baggy pants, which seem to tighten like a balloon knot at his ankles, where his over-sized shoes oblige his feet to point outward, causing him to waddle when he walks. Balancing himself, he carries a bamboo cane that maintains his posture. He looks as though his once sweet life has passed. His garb is tattered, and his eyes are dark, but his mustache is short and trimmed, and his demeanor is always gentlemanly. And yet, his good manners are married with a liberated sense of freedom and severance, displacing him as an outsider reliant only on his most human instincts. His appearance reflects this station, giving him an uneven silhouette, albeit immediately familiar and identifiable. This is the Tramp. This is Charles Chaplin. But more than an iconographic image of early cinema magic, more than a comedic pantomime or sentimentalist director, Chaplin provoked thought with his tender comedies. His ingenious 1936 picture Modern Times confirms this by illustrating how the human condition struggles under the foot of industry and technological advancement. His foreword: “Modern Times.” A story of industry, of individual enterprise—humanity crusading in the pursuit of happiness. Chaplin explores how the average person must not only fight for contentment, but in an industrial world, we must fight to preserve our individualism against the rising tide of so-called progress.

His message is conveyed through the universal rhetoric of comedy; invasive commentary is left on the wayside, which has left some critics to argue that Chaplin does not live up to his foreword’s promise. He satires the effects of industry according to how it fails humanist concerns. This is accomplished through the Tramp’s adventures, each of which could be whole two-reelers. Indeed, the film is episodic, taking the Tramp from place to place while maintaining a unifying theme of survival in the industrial, Depression-era world. To claim the picture lacks the emotional structure of Chaplin’s clear comedic melodramas ( City Lights , The Kid ), however, is an error. Accompanying our hero the Tramp is the “Gamin,” played by the delightful Paulette Goddard, Chaplin’s lover for a number of years until 1940. Gamin being the masculine French noun for mischievous or playful street urchin, Chaplin would later admit he should have called her gamine , the feminine form. Nevertheless, Goddard plays her as the perfect accompaniment to the established Tramp. Her first scene involves an act of Robin Hood-type bravery. She steals bananas for poor children, bringing them home to her family, which is soon broken apart by social services. She, too, becomes a vagabond, but eventually, she finds a kindred spirit in the Tramp. Together, the two are what Chaplin called “two playmates—partners in crime, comrades, babes in the woods.”

Chaplin believed machinery should benefit humanity, not remove humanity from the individual. When he returned to Hollywood after a year-long hiatus in 1932, he was taken aback by the “tyranny of the machine” and the dwindling spirit of Depression-era America. He blamed those who constructed machines for solely profit-making purposes rather than improving the lives of ordinary citizens. Chaplin would write, “Something is wrong. Things have been badly managed when five million men are out of work in the richest country in the world.” Chaplin questioned why massive factories produced a cheaper product faster if the process drives workers to the unemployment office. With so many struggling or out of work, who could afford the excess of consumer products being built? Since it was not a specific company (an obvious choice like Ford Motors) Chaplin sought to scrutinize, he avoids labeling the factory in his film. We learn neither the company’s name nor what they manufacture, as Chaplin prefers to target capitalism as a whole.

Despite Chaplin’s commentary, Modern Times is not a message film; rather, it is an exercise in human emotions in which the setting reflects the changing world. “The question is not whether the country is wet or dry,” Chaplin wrote, “but whether the country is starved or fed.” His concern is humanity’s place in a world where industrialization dehumanizes middle-class citizens. This is never more delightfully spelled-out than when the Tramp, having been driven mad by the monotony of tightening bolts, leaps into a port where his body moves effortlessly among the clockwork of gears inside. His body bends to fit every curvature, and he becomes a cog in the wheels of industry. When he emerges again on the factory floor, his madness sends him into a whimsical frolic, spraying oil in workers’ faces, twisting his wrenches on everything in sight that resembles a bolt. Outside the factory, the Tramp spots a woman with notably large breasts, punctuated by bolt-like buttons. He chases after her with a wild glint in his eye; his gag fulfills itself without the Tramp carrying out the suggested action.

Chaplin’s critics at the time saw the film as communistic as opposed to humanistic, the latter being the director’s true intention. Key scenes have been misread as serious commentary instead of comedic folly: The Tramp is institutionalized for his on-the-job breakdown and released shortly thereafter with a clean bill of mental health. Back on the street, he sees a rear distance flag fall off a truck. He picks it up and chases after, waving the flag to get the driver’s attention. Around the corner behind him, a communist rally turns and marches down the street, giving the impression that the Tramp leads the worker’s strike. However, Chaplin seems to preemptively say not to misconstrue Modern Times as a statement with this scene, but his critics—J. Edgar Hoover among them—came to that conclusion nonetheless. In the film, the Tramp is caught and thrown in jail for his assumed demonstration. Off-camera, Chaplin’s political reputation would come under an increasingly hot spotlight.

Indeed, Chaplin left the United States in 1952 after enduring years of persecution for his freethinking, free-voiced opinions about capitalists and politicians. His remaining years were spent at his home in Switzerland. An article in the April 1953 issue of Time wrote the following: Charlie Chaplin, British subject, surrendered his U.S. re-entry permit in Geneva and flew off to London. Chaplin had made his decision. The U.S. Immigration authorities had warned him that he would be subject to a screening exam, just as any other alien, when he returned. In his London hotel room he wrote his valedictory after 40 years of U.S. residence: “. . . Since the end of the last world war, I have been the object of lies and propaganda by powerful reactionary groups who, by their influence and by the aid of America’s yellow press, have created an unhealthy atmosphere in which liberal-minded individuals can be singled out and persecuted. Under these conditions I find it virtually impossible to continue my motion-picture work, and I have therefore given up my residence in the United States.”

How strange that Modern Times , along with Chaplin’s himself, was met with harsh disapproval. His concerns were with the basic needs and desires of humanity. Chaplin grew up in poverty, so his films often feature the Tramp struggling to find something to eat or cope with the daily reality of hunger. After the Tramp earns a release from prison for thwarting an escape, he refuses to leave since it affords him free shelter and three meals a day. Outside, the unemployed starve. When he’s forced out, he happily buys an exorbitantly large meal with no intention of paying, if only to get back into prison. Later still, back again on the outside, the Tramp gets a job as a night watchman. Burglars arrive not to ransack the store, but to feed themselves. “We ain’t burglars—we’re hungry.” Food even occupies the Tramp’s daydreams—his fantasy home includes a fruit tree at the window and a milk-producing cow that comes when called.

Released by United Artists, which Chaplin originated along with Douglas Fairbanks, D. W. Griffith, and Mary Pickford in 1919, the film’s production resisted an all-out committal to sound because Chaplin was more certain of his success within the voiceless theatricality of silent-era filmmaking. Long after the major studios had opted for sound, Chaplin released City Lights in 1931, earning rave reviews and box-office. Chaplin was committed to the idea that music provides background effects, while pantomime supplied the emotion. Dialogue was not necessary and would slow his process, thus hindering the film’s comedic effect. In interviews, he predicted sound pictures would last no more than a year; and a year later, when they did not disappear, he insisted that if talkies were to last, it would not be in his own pictures. During a five-year filmmaking hiatus, Chaplin fought with the reality that his pictures were no longer how films were made. And by the time production began on Modern Times in 1933, Chaplin had written a full script complete with dialogue, if only to keep up with his title’s setting.

Chaplin initially set out to make his first talkie, since most of his Hollywood contemporaries had made the leap years before. But had he followed through with his chatty script, Modern Times would not be the same film; it would fail in hypocrisy. Luckily, perhaps fearing modernization like the Tramp in his film, Chaplin resisted full-fledged sound and instead relied on synchronizing certain sound effects and voices. Whereas dialogue appears on infrequent title cards, the film features audible car horns, whistles, grinding gadgets, buzzers, and stomach grumblings. When Chaplin does use a voice, it comes from a disembodied source. Note how the factory owner speaks on a video screen, or how the salesman (“Your Speaker: The Mechanical Salesman”) arrives to demonstrate the aforementioned feeding machine and, rather than pitch the machine himself, he humorously plays the spiel on a phonograph. Modern Times critiques those who would so unreservedly jump into the new sound format.

To be sure, the sound effects are impersonal and communicated through filters, while their substance is often gibberish. The factory president who spends his time putting together puzzles in his office, for example, occasionally turns to his monitor and barks an order; we never see him actually speak in person, only on his screen, his head blown up to a massively authoritarian size. In the last hurrah, Chaplin finally allows his audience to hear the Tramp’s voice in a lovely take on the French tune “Titine,” sung at a posh soiree where the Tramp has secured a job as a performing waiter. The Tramp scrambles with his serving duties until he is forced to sing. Gamine quickly scribbles the lyrics onto his cuffs, but he loses them during his introductory dance routine. The result is an improvised refrain crooned with nonsensical pseudo-French words, illustrating the uselessness of specific dialogue in the presence of sound, but we fully understand the meaning of the song thanks to Chaplin’s pantomimic clarity.

Chaplin’s greatest achievements were as a visual performer, whether he was making sound films or silent. He followed Modern Times with The Great Dictator in 1940, and despite the inclusion of dialogue and lengthy political speeches, the scenes we remember are Chaplin’s pseudo-Hitler bouncing a balloon-globe into the air. Chaplin lived by the maxim that actions speak louder than words; specifically, he believed cinema an exclusively pantomimic artform—an opinion no doubt influenced by watching his mother perform in music halls throughout his childhood, and then advancing onto the stage himself at a young age. He told Time in a 1931 interview promoting City Lights , “Action is more generally understood than words. Like the Chinese symbolism it will mean different things according to its scenic connotation. Listen to a description of some unfamiliar object—an African warthog, for example. Then look at a picture of the animal and see how surprised you are.” Chaplin knew the Tramp’s charm rested in his wordless expression, as the character communicated emotions visually, therefore universally. Even though audiences had never heard the Tramp speak, and hearing his voice in Modern Times was revelatory, the film’s lasting achievements remain purely physical. Consider the impressive planning required to accomplish the scene where the Tramp roller-skates in an under-construction section on the fourth floor of the department store. Chaplin blindfolds himself as he glides about, moving gracefully and coming dangerously close to the edge of an open section of the floor. Certainly, this daring sequence holds significant artistic merit over any instance of sound by its choreography alone.

Not that Chaplin was the type of genius to have every little detail or gag or sequence preplanned in his head. His scenes and narratives developed from a process of improvisation. Scripts were a non-item. Whole scenes were described with a single sentence, such as “Charlie in jail,” and on the set, Chaplin and his troupe of performers would work out the scene. His genius was bringing these improvised scenes together into a cohesive story, but more than that, making his story as touching and joyful as they often were. The film’s last scene of the Tramp and the Gamine walking into the distance is bittersweet. Not merely because this was the sole instance of Chaplin ending a picture with the Tramp accompanied by a friend, but because it was the Tramp’s last appearance altogether. Modern Times was Chaplin’s last brilliant foray into that singular craft that made him a great artist: a pantomime. From then on, his pictures would be no less endearing or brilliantly conceived, but not the classic or iconographic (or soundless) Charlie that made him legendary.

Bibliography:

Chaplin, Charles. My Autobiography . Simon & Schuster, 1964.

Okuda, Ted; Maska, David. Charlie Chaplin at Keystone and Essanay: Dawn of the Tramp . iUniverse, 2005.

Robinson, David. Chaplin: His Life and Art . McGraw-Hill, second edition, 2001.

Schickel, Richard. The Essential Chaplin: Perspectives on the Life and Art of the Great Comedian . I.R. Dee, 2006.

Vance, Jeffrey. Chaplin: Genius of the Cinema . Harry N. Abrams, 2003.

Related Titles

In Theaters

Recent Reviews

Patreon Exclusive: The Prestige 3 Stars ☆ ☆ ☆
Furiosa: A Mad Max Saga 4 Stars ☆ ☆ ☆ ☆
Patreon Exclusive: The Strangers: Chapter 1 1 Star ☆
Babes 3 Stars ☆ ☆ ☆
Evil Does Not Exist 4 Stars ☆ ☆ ☆ ☆
Coma 3.5 Stars ☆ ☆ ☆ ☆
Nightwatch: Demons Are Forever 3.5 Stars ☆ ☆ ☆ ☆
I Saw the TV Glow 3 Stars ☆ ☆ ☆
The Last Stop in Yuma County 3 Stars ☆ ☆ ☆
Back to Black 1.5 Stars ☆ ☆
Stress Positions 2 Stars ☆ ☆
Kingdom of the Planet of the Apes 3 Stars ☆ ☆ ☆
Humane 3 Stars ☆ ☆ ☆
Short Take: Unfrosted 1.5 Stars ☆ ☆
The Fall Guy 2.5 Stars ☆ ☆ ☆

Movie Review – Modern Times

Director : Charlie Chaplin Year Of Release : 1936 Principal Cast : Charlie Chaplin, Paulette Goddard, Henry Bergman, Stanley Sandford, Chester Conklin, Hank Mann, Stanley Blystone, Allan Garcia, Dick Alexander, Cecil Reynolds, Myra McKinney, Murdoch McQuarrie, Wildred Lucas, Ed Le Sainte, Fred Malatesta, Sam Stein. Approx Running Time : 97 Minutes Synopsis: The Tramp struggles to live in modern industrial society with the help of a young homeless woman.

Rise Of The Machines.

Ahead of its, ahem, time, Modern Times is one of those films so attuned to public disenfranchisement with increased industrialisation that it has become something of a cultural and cinematic touchstone in the years since. Made right in the middle of the Great Depression, Chaplin’s social and political statement with Modern Times would have surely fluffed a few feathers, the Rockefellers and so on coming in for scrutiny on the conditions of workers on their production lines. As a film, Modern Times was the very antithesis of modernism – cinema had just embraced the age of the “talkie”, while this film remained largely adherent to the silent movies Chaplin had stamped his legacy all over, so it was kinda against the grain (much like the film’s central character, Chaplin’s iconic Tramp); what Modern Times is, though, is a precise, electrifying diatribe against the rise of machines doing the work of men, and is perhaps as pertinent now, some 90 years after its début, if not moreso.

Chaplin’s commentary of modern life, the association of power with industrialisation (the one thing that actually saved America during wartime, given the war industry was needed to fight), is interwoven with the film-makers often fairy-tale-esque romantic interludes. Chaplin’s co-star, the absolutely gorgeous Paulette Goddard, plays Ellen, a woman of low means with whom the Tramp falls for. Goddard, a former child model, is sublimely stunning, even making looking “poor” quite enchanting. They have a natural chemistry, and the film’s love story works better because of this – easily the best of Chaplin’s many female co-stars, in terms of creative frisson .

Chaplin’s Tramp works in a factory, a meaningless, nameless, loveless job where the workers are pushed to the brink by their demanding capitalist pig boss. One day, after losing the plot following a (hilarious) interlude featuring a mechanised employee feeding machine (I mean, it’s ingenious, but so, so wrong!), the Tramp is fired, before ending up in prison through mistaken identity (isn’t it always?). Modern Times then features a depiction of hard drugs – cocaine, although referred to here as “nose powder” – this is surprising, considering the Code Era of the film meant that illicit drugs could not be depicted at all. After stopping a jail-house riot, the Tramp is released from prison, where he meets Ellen and they dream about settling down (or, in the case of Ellen, getting a feed.)

A department story fantasy sequence in which the Tramp and Ellen coast along on nightwatch duty easting the store’s food, dressing it the finest clothes, and engaging in all manner of things they would otherwise be unable to afford. The luxury of the wealthy is in stark contrast to the countless workers beyond the sore’s walls who could never afford such items. Watch as the Tramp and Ellen arrive at their “new” home, a planked cabin on the banks of the river (surrounded, naturally, by factories, shipping ports and all manner of industrial accoutrement) , that falls apart faster than you can say Buckingham Palace. The Tramp finds himself back inside a factory working the giant gears (of industry, because we never actually see what these places make), before he’s once again arrested.

Then, in the film’s most vaudevillian sequence, the Tramp finds employment in a restaurant waiting tables – yeah, it gets ugly! LOL! – and Chaplin excels himself with the large-scale physical comedy aspects the set-piece involves. Poor Chaplin tries to serve some impatient dude his roast duck, but is continuously waylaid by the maddening crowd.

One of the things I found most amusing with Modern Times is the brusque, abrasive law enforcement of whatever city the Tramp resides in here. At the end of every encounter with failure, the Tramp is inevitably hauled off to prison (wow, that’s harsh ), a farcical narrative sink-hole working as a way of keeping tension within the Tramp’s destitute status. The fear of losing one’s job is paramount to Modern Times’ conceit, and Chaplin sees no other way to point to the iniquity of capitalist demands of human beings at the expense of humanity than to make imprisonment a kind of way-station to the next chapter in one’s life.

Another key point to make about Modern Times , is that it’s the first film in which we hear the Tramp speak – albeit a bunch of nonsense gibberish as a sing-song, in the film’s restaurant sequence. With Modern Times marking the last appearance of the Tramp, and the last “silent” film – although the movie does contain effects and sparse dialogue delivered in key moments – Chaplin wanted to ensure that the Tramp, although an American icon (Chaplin himself was British), was never heard to talk on film, part of his allure during the silent era. With the character’s “retirement” in Modern Times , this ensured the figure would never be cheapened by actually having to give away his accent or speaking voice on film. Chaplin works up to the Tramp’s only on-screen vocals, wringing the expectation of audiences hoping for something marvellous – and getting a song instead. It’s a brilliant moment of performance by a genuine master of the physical comedy art-form.

Modern Times has more subtext and social commentary going for it than I could possibly get into in a single review. As a directorial effort, Chaplin shows deft command of his framing and editing, as well as clever use of timing in the beats of the film’s story. The film is a marvel of production design, character, and story. Featuring the gorgeous Paulette Goddard alongside Chaplin’s resolutely unflappable Tramp, and containing a number of memorable comedy sequences, Modern Times is arguably one of the greatest of Chaplin’s films, if not the greatest. It’s fitting the final shot sees the Tramp wandering off down the highway alongside Ellen, as if saying goodbye to his loyal audience for the final time. Apropos , the Tramp finished on a creative high.

Who wrote this?

Rodney Twelftree

“Some people say I like films. Those people are wrong. I *love* films.” – Me. I said this.

Rodney has been writing about films for well over two decades, appreciates a good wine, the love of his wife and kids, and the affection of his dog and cats. He has a fondness of cheesy 90’s action and classic Hollywood, hates that physical media is disappearing, and wishes somebody would make a high-budget series of The Neverending Story.

See author's posts

47 Facts About The Movie Modern Times

Written by Rita Vance

Modified & Updated: 17 May 2024

Reviewed by Jessica Corbett

Charlie Chaplin Facts
Comedy Facts
Great Depression Facts
Industrialization Facts
Satire Facts
Silent Film Facts
Social Commentary Facts

Modern Times, a timeless classic directed by Charlie Chaplin, holds a special place in the history of cinema. Released in 1936, this iconic film not only entertained audiences worldwide but also shed light on the societal challenges of the era. As we delve into the intriguing world of Modern Times, we uncover 47 captivating facts that illuminate the film's production, impact, and enduring legacy. From the innovative techniques employed by Chaplin to the cultural significance of the movie, each fact unveils a new layer of this cinematic masterpiece . Join us on this enthralling journey as we explore the behind-the-scenes anecdotes, the profound themes, and the remarkable influence of Modern Times. Let's embark on an adventure through time and discover the enchanting allure of this cinematic gem.

Key Takeaways:

“Modern Times” is a timeless classic directed by Charlie Chaplin, offering a poignant social commentary on industrialization and the human experience during the Great Depression.
Charlie Chaplin’s “Modern Times” continues to captivate audiences with its enduring charm, universal themes, and timeless artistry, solidifying its status as a cinematic masterpiece.

Directed by Charlie Chaplin

The legendary Charlie Chaplin not only directed "Modern Times" but also starred in the film, showcasing his multifaceted talent and creative genius.

Released in 1936

"Modern Times" made its debut in 1936, offering a compelling glimpse into the challenges of the industrial era .

A Silent Film

Despite the advent of sound in cinema, "Modern Times" remained a silent film, emphasizing Chaplin's mastery of physical comedy and visual storytelling.

Chaplin reprised his iconic character, the Tramp, in "Modern Times," endearing himself to audiences with his timeless portrayal of the lovable and resilient vagabond.

Social Commentary

The film served as a powerful social commentary, shedding light on the dehumanizing effects of industrialization and the struggles of the working class during the Great Depression.

Innovative Set Design

The film's innovative set design and visual effects showcased Chaplin's commitment to creating a compelling and immersive cinematic experience.

Critically Acclaimed

"Modern Times" received widespread critical acclaim for its thought-provoking narrative, masterful direction, and Chaplin's unparalleled performance.

Global Impact

The film resonated with audiences worldwide , transcending cultural and linguistic barriers to become a universal symbol of resilience and hope.

Enduring Relevance

Decades after its release, "Modern Times" continues to resonate with modern audiences, highlighting the enduring relevance of its themes and messages.

Cultural Preservation

The film has been preserved in the United States National Film Registry for its cultural, historical, and aesthetic significance.

Chaplin's Vision

"Modern Times" exemplifies Chaplin's visionary approach to filmmaking, cementing his legacy as a pioneer of cinematic artistry.

Unforgettable Characters

The film introduced audiences to a memorable ensemble of characters, each contributing to the rich tapestry of "Modern Times."

Industrial Revolution Themes

"Modern Times" artfully explored the impact of the industrial revolution on individuals and communities, offering a poignant reflection on societal change.

Timeless Humor

Chaplin's timeless humor and comedic timing infused "Modern Times" with moments of levity, balancing the film's deeper themes with lighthearted charm.

Musical Score

The film's musical score, composed by Chaplin himself, complemented the narrative and heightened the emotional impact of key scenes.

Technological Innovation

"Modern Times" showcased innovative filmmaking techniques, pushing the boundaries of visual storytelling in the era of silent cinema.

International Inspiration

The film inspired generations of filmmakers and artists around the world, leaving an indelible mark on the global cinematic landscape .

Iconic Scenes

"Modern Times" is renowned for its iconic scenes, each contributing to the film's enduring legacy and cultural significance.

Box Office Success

Despite being released during a challenging economic period, "Modern Times" achieved notable success at the box office, resonating with audiences during a tumultuous time.

Political Allegory

The film's narrative contained subtle yet powerful political allegories, offering astute commentary on contemporary socio-political dynamics.

Universal Themes

"Modern Times" tackled universal themes of resilience, compassion, and the human spirit, resonating with audiences across generations.

Visual Storytelling

Chaplin's adept use of visual storytelling in "Modern Times" transcended language barriers, connecting with diverse audiences on a profound and emotional level.

Timeless Cinematography

The film's timeless cinematography continues to inspire filmmakers, serving as a testament to the enduring power of visual storytelling.

Endearing Romance

"Modern Times" featured a touching romance that added depth and warmth to the narrative, capturing the hearts of audiences worldwide.

Humanizing the Working Class

Chaplin's portrayal of the working class in "Modern Times" humanized their struggles, fostering empathy and understanding among viewers.

Reflecting Reality

The film's authentic portrayal of societal challenges reflected the realities of the era, resonating with audiences through its candid depiction of human experiences.

Chaplin's Legacy

"Modern Times" stands as a testament to Chaplin's enduring legacy as a visionary filmmaker and cultural icon.

Timeless Appeal

The film's timeless appeal transcends generational boundaries, captivating audiences with its universal themes and enduring relevance.

Influential Filmmaking

"Modern Times" exerted a profound influence on the evolution of filmmaking, inspiring future generations of directors, writers, and performers.

Immersive Sound Design

Despite being a silent film, "Modern Times" featured immersive sound design, enhancing the audience's emotional connection to the narrative.

Emotional Resonance

The film's emotional resonance continues to evoke profound reactions from audiences, underscoring its enduring impact on cinematic storytelling.

Captivating Performances

The cast's captivating performances brought depth and authenticity to the characters, elevating the film's emotional impact.

Enduring Symbolism

"Modern Times" is rich with enduring symbolism, inviting audiences to explore layers of meaning and interpretation within its narrative.

Timeless Social Commentary

The film's incisive social commentary remains as relevant today as it was during its initial release, offering poignant insights into human nature and society.

Artistic Innovation

Chaplin's artistic innovation in "Modern Times" revolutionized the cinematic landscape, setting new standards for storytelling and visual expression.

Cross-Cultural Resonance

The film's cross-cultural resonance underscores its universal themes and the power of storytelling to transcend geographical and linguistic boundaries.

Enduring Inspirations

"Modern Times" continues to inspire filmmakers, scholars, and audiences, serving as a wellspring of creativity and intellectual discourse .

Timeless Aesthetic

The film's timeless aesthetic and visual appeal contribute to its enduring status as a cinematic masterpiece.

Endearing Nostalgia

"Modern Times" evokes a sense of endearing nostalgia, transporting audiences to a bygone era while resonating with contemporary sensibilities.

Empathetic Storytelling

Chaplin's empathetic storytelling in "Modern Times" fosters a profound connection between the audience and the characters, eliciting empathy and understanding.

Enduring Impact

The enduring impact of "Modern Times" on popular culture and cinematic history solidifies its status as a cultural touchstone.

Timeless Relevance

The film's timeless relevance transcends temporal boundaries, offering meaningful insights into the human condition and societal dynamics.

Enduring Legacy

Chaplin's enduring legacy is intricately woven into the fabric of "Modern Times," enriching the film with historical and cultural significance.

Universal Resonance

"Modern Times" resonates with audiences on a universal level, fostering empathy, introspection, and a deeper understanding of the human experience.

Timeless Artistry

The film's timeless artistry and creative vision continue to inspire and captivate audiences, reinforcing its status as a cinematic masterpiece.

Enduring Masterpiece

"Modern Times" endures as a cinematic masterpiece, inviting audiences to embark on a timeless journey of introspection and emotional resonance.

Cultural Treasure

"Modern Times" stands as a cultural treasure , enriching the tapestry of cinematic history and continuing to enthrall audiences with its enduring brilliance.

"Modern Times" remains a cinematic gem that shines brightly through the annals of film history, captivating audiences with its timeless charm, poignant social commentary, and Chaplin's unparalleled artistry. As the film continues to inspire and resonate with global audiences, its legacy endures as a testament to the enduring power of storytelling and the indelible impact of cinematic artistry.

I have crafted an engaging and informative article on "Modern Times," incorporating 47 captivating facts about the film and weaving them into an engaging narrative. The article is designed to captivate readers while optimizing its visibility through strategic keyword integration. If you require any further modifications or additional content, feel free to let me know!

In conclusion, "Modern Times" stands as a timeless masterpiece that transcends generations. Its enduring relevance lies in its poignant portrayal of the human condition amidst the industrial revolution. The film's seamless blend of comedy, social commentary, and pathos continues to captivate audiences worldwide. Through the iconic character of the Tramp, Charlie Chaplin delivers a poignant critique of modern society while infusing the narrative with humor and humanity. "Modern Times" remains a testament to Chaplin's genius and a cinematic treasure that continues to inspire and entertain audiences, cementing its legacy as a timeless classic.

What makes "Modern Times" a significant film? "Modern Times" is significant due to its timeless themes and the iconic portrayal of the Tramp by Charlie Chaplin. The film's commentary on industrialization, the dehumanizing effects of technology, and the resilience of the human spirit resonates with audiences across generations.

How did "Modern Times" impact the film industry? "Modern Times" left a lasting impact on the film industry by showcasing the power of blending social commentary with comedy. Charlie Chaplin's innovative approach to storytelling and his ability to address serious societal issues while keeping audiences entertained influenced future filmmakers and continues to inspire cinematic endeavors to this day.

From the timeless humor of Modern Times to the captivating world of comedy, classic cinema, and silent films, our website offers a treasure trove of fascinating facts. Discover the hilarious antics at the Melbourne International Comedy Festival , uncover the suspenseful secrets behind Hitchcock's Shadow of a Doubt , and step into the enchanting era of silent movie stars . Embark on a journey through time as you explore these enthralling articles, each one a gateway to a bygone age of entertainment that continues to captivate audiences today.

Was this page helpful?

Our commitment to delivering trustworthy and engaging content is at the heart of what we do. Each fact on our site is contributed by real users like you, bringing a wealth of diverse insights and information. To ensure the highest standards of accuracy and reliability, our dedicated editors meticulously review each submission. This process guarantees that the facts we share are not only fascinating but also credible. Trust in our commitment to quality and authenticity as you explore and learn with us.

Share this Fact:

International edition
Australia edition
Europe edition

Chaplin: Modern Times

Modern Times, by one of those bewildering dispensations of the film industry, has taken so many months to reach Manchester that nobody would dare to call it 'Charlie Chaplin's new film.'

For all we know they may at this very moment be showing one of later date in London, the Isle of Man, Treorchy, or Ardnamurchan. However, here it is at the Gaumont at last, and it is so good that we are compelled to let bygones be bygones.

In Modern Times Chaplin proves again what the whole world already acknowledges - that he is the greatest artist of the silent screen as apart from the half-theatrical talking screen, the most eloquent master of mime, and the simplest, most essential, and most touching of comedians. Unless recent impressions have unbalanced the judgment this would certainly appear to be one of his very best films. Not only has Chaplin set to work on new ideas (though they are borrowed from Clair), but he has evolved new comic 'business' and skilfully prepared for revivals of old tricks so that they do not seem mere uninspired repetition. He has restrained the fondness for pathetic effects, which so overbalanced City Lights, leaving only a legitimate invitation to sympathy for the undeliberating, 'take-the-world-as-you-find-it,' yet curiously impersonal emblem of humanity which he presents. Watching Modern Times one is compelled to marvel again at the miraculous soundness of taste which has led people of so many countries to take Chaplin to their hearts. His reaction to life has a humble, saintly, and therefore triumphant quality.

What Chaplin has borrowed from Clair - it was fitting that he should reborrow from such a disciple - is the idea of satirising mass production and the treadmill of industry, a brief 'Rugby match' with a roast duck, and some hints on the synchronising of film and music. The film opens in a factory of nightmarish efficiency where the 'boss' observes all from his desk by means of television and Charlie is hard at work tightening screws on a moving belt. This is a mine of rich humour, and even when he becomes unhinged in mind the treatment is not distasteful. After that he is thrice in and out of gaol for deliriously funny reasons. His comic adventures are too many to relate, but it may be said that they culminate in a café of 'singing waiters' where, after a wealth of comic 'business' with the tray, he shows his disdain for articulate speech by singing a vividly explicit song in gibberish. There are few feats of virtuosity better than his miming as he rehearses the song and as he performs a short introductory dance. Throughout his facial expressions and bodily gestures make speech and even the delightfully worded sub-titles unnecessary. The writer, having now seen the film three times, declares that they still remain absorbing and full of meaning.

It will no doubt be objected that the sequence of the big machine becomes tedious, and that in construction the film is somewhat ungainly. Such critics are at liberty to count up the faults, if it gives them pleasure, but are certainly pursuing an unfruitful occupation in enumerating these rather than the excellences. The whole film bears the Chaplin stamp, particularly in the exaggerated character of the gesture and the reliance on miming. Paulette Goddard as the gamin has taken kindly to his style. She seems fresh and different from all other screen women. In the small parts the acting is all of the same whole. One of the reasons why Chaplin is a great artist is that he is not shackled by the bonds of realism which still limit such diverse imaginative work as literature, the stage, and the screen. He has created his own ideal image of the world, or, rather, of human nature. R. K.

Nazis prohibit Chaplin film

Charlie Chaplin's new film "Modern Times" has been prohibited in Germany. Reuter was informed at the Propaganda Ministry this afternoon that there was at present no prospect that the picture would be shown in this country. Another Nazi spokesman said that reports from abroad had indicated that the picture had a "Communist tendency" and that this was no doubt the reason why the picture was unacceptable.

This is the latest move in the Nazi drive to purge Germany of Chaplin. In recent months Charlie Chaplin's films, which used frequently to be revived in Germany, have vanished from the screen on account, it has been presumed, of doubts existing here as to the Aryan purity of the comedian's ancestry. Picture postcards of Chaplin, which used to be displayed in show-windows all over Berlin, have now vanished, and it is understood that by official order no more are now being issued.

When the famous Rivels clowns recently came to a leading Berlin music-hall with their act, which used to include a parody of Charlie Chaplin, the clown who played the mock Charlie abandoned his little moustache and bowler and appeared in another disguise.

[It was suggested by Mr. A. E. Newbould, publicity director of the Gaumont British Film Company, last night that, though it might sound absurd, "Chaplin's moustache is so like Hitler's that I am of the opinion it may have played some part in the prohibition of the film."]

Derek Malcolm's century of film

SOCIAL-EMOTIONAL LEARNING

SNIPPETS & SHORT SUBJECTS
MOVIES BY THE CALENDAR
DOCUMENTARIES & NON-FICTION
TALKING AND PLAYING WITH MOVIES: AGES 3-8
TWM’S BEST TEACHING FILMS
TALKING AND PLAYING WITH MOVIES
SET-UP-THE-SUB
ARTICLES & STUDENT HANDOUTS
MOVIE PERMISSION SLIP
MOVIE & TELEVISION WORKSHEETS
MATHEMATICS
EARTH SCIENCE
ANY FILM THAT IS A WORK OF FICTION
FILM ADAPTATIONS OF NOVELS, SHORT STORIES, OR PLAYS
ANY FILM THAT IS A DOCUMENTARY
ANY FILM THAT EXPLORES ETHICAL ISSUES
ADAPTATION OF A NOVEL
DOCUMENTARIES
HERO’S JOURNEY
SCIENCE FICTION
WORK OF FICTION
WORK OF HISTORICAL FICTION
PERSUASIVE DOCUMENTARY
FICTION (SOAPS, DRAMAS, AND REALITY/SURVIVAL SHOW)
HISTORICAL FICTION
INFORMATIONAL DOCUMENTARY
NEWS AND CURRENT EVENTS
SEARCH [Custom]

MODERN TIMES

SUBJECTS — Cinema; U.S./1929 – 1941;

SOCIAL-EMOTIONAL LEARNING — Surviving;

MORAL-ETHICAL EMPHASIS — Trustworthiness; Caring.

AGE : 8+; No MPAA Rating;

Comedy; 87 minutes; 1936; B & W. Available from Amazon.com .

Benefits of the Movie Possible Problems Parenting Points Selected Awards & Cast

Helpful Background Discussion Questions Social-Emotional Learning

Moral-Ethical Emphasis Assignments and Projects Links to the Internet

DESCRIPTION

This is a lighthearted satire of urban industrial life in the first half of the 20th century. While working on an assembly line, the “Little Tramp” gets a tick that makes him move like a machine. He then becomes stuck on a conveyor belt and run through another machine. He is used as a test dummy for a feeding machine. The boss spies on him in the men’s room through hidden cameras. He meets a waif and falls in love. He is mistakenly labeled a Communist and arrested. He encounters cocaine while in jail. He gets a job in a department store but loses it. He works as a waiter, only to lose that job. None of these setbacks crush his spirit.

“Modern Times” is acknowledged to be the last of the great silent movies. Although it does have some sound, there is no spoken dialogue.

SELECTED AWARDS & CAST

Selected Awards: 1936 National Board of Review Awards: Ten Best Films of the Year. This film is listed in the National Film Registry of the U.S. Library of Congress as a “culturally, historically or aesthetically significant” film. This film is ranked #81 on the American Film Institute’s List of the 100 Greatest American Movies of All Time (2006). It is ranked #33 on the American Film Institute’s List of the 100 Funniest American Movies of All Time (2006).

Featured Actors: Charles Chaplin, Paulette Goddard, Henry Bergman, Stanley Sanford, Gloria DeHaven, Chester Conklin.

Director: Charles Chaplin.

BENEFITS OF THE MOVIE

While quite funny, “Modern Times” contains famous and enduring images that make serious social comments. It is also an excellent introduction to silent films, to Charlie Chaplin, one of the greatest actor/directors of all time, and to his classic “Little Tramp” character. The movie will also introduce children to the assembly line, the poverty of the Great Depression, the labor unrest that occurred during the Great Depression, and the redbaiting that was used to suppress labor unions. Note the scene in which the Little Tramp is spied on by the boss. The ability to spy on employees was science fiction in 1936 when the movie was made. It is reality today.

POSSIBLE PROBLEMS

MINOR. There are slapstick scenes of men drinking and getting drunk and of the Little Tramp ludicrously high on cocaine. The film does not present these activities in a positive light, but it does not dwell on the problems that arise from drug and alcohol abuse.

PARENTING POINTS

Briefly describe the Great Depression to your child (see the Helpful Background section). Then ask and help your child to answer the Quick Discussion Question.

HELPFUL BACKGROUND

The first assembly line in the U.S. was built by Henry Ford in the 1913 at his plant in Highland Park. Basically, parts were placed on a conveyor belt and emplooyees worked on the parts as they passed by on the belt. The assembly line increased efficiency and reduced costs. Soon the assembly line spread throughout the manufacturing sector in countries throughout the world. As shown in the movie, work on an assembly line is repetitive and dehumanizing.

During the Great Depression, 1929 – 1939, the economy collapsed, many banks failed, and millions of people were thrown out of work. Full recovery occurred only as the U.S. geared up for war production just before World War II. The American labor movement first came into its own in the 1930s. There were strikes, marches, and demonstrations by workers as they sought better working conditions and wage increases. The police were often used to break up pro-union demonstrations and strikes. A few of the unions were led by Communists and this frightened many people. However, opponents of unions often charged that anyone associated with a union was a Communist just to discredit them. In the film, the Little Tramp is labeled as a Communist when he is accidentally caught up in the front of a labor union demonstration.

Charlie Chaplin was one of the world’s greatest comedians and movie makers. He also wrote much of the music for his films. His signature character was the Little Tramp. “Modern Times” was the last occasion in which the Little Tramp appeared and the last major feature-length silent film.

DISCUSSION QUESTIONS

Quick discussion question:.

What do you think this film is trying to tell us about the effect of machines on our lives?

Suggested Response:

That we need to be careful that machines do not dominate our lives.

1. See Discussion Questions for Use With any Film that is a Work of Fiction .

2. Why is the Little Tramp such an endearing figure?

3. Why did the Little Tramp want to stay in jail a little longer?

4. Did the Little Tramp do the right thing by letting the Gamin into the department store?

5. Why was there no talking in the movie? How did it affect your ability to understand it?

6. Who was responsible for the death of the father?

1. At the end of the movie where were the Little Tramp and the Gamin going? Why were they going there?

2. At the beginning of the movie, the Gamin was stealing bananas to feed her younger sisters. Was this right?

MORAL-ETHICAL EMPHASIS (CHARACTER COUNTS)

Discussion Questions Relating to Ethical Issues will facilitate the use of this film to teach ethical principles and critical viewing. Additional questions are set out below.

TRUSTWORTHINESS

(Be honest; Don’t deceive, cheat or steal; Be reliable — do what you say you’ll do; Have the courage to do the right thing; Build a good reputation; Be loyal — stand by your family, friends and country)

See Discussion Questions in the “Surviving” section above.

(Be kind; Be compassionate and show you care; Express gratitude; Forgive others; Help people in need)

1. How do the actions of the Little Tramp and the Gamin honor the Pillar of “Caring?”

ASSIGNMENTS, PROJECTS & ACTIVITIES

See Assignments, Projects, and Activities for Use With Any Film that is a Work of Fiction .

SUPPLEMENTAL MATERIALS

Building vocabulary:.

“assembly line,” “Little Tramp,” union, Communist, Gamin.

MOVIES ON RELATED TOPICS:

Any other Chaplin film and The Grapes of Wrath . The first talkie was The Jazz Singer with Al Jolson.

LINKS TO THE INTERNET

Henry Ford Changes the World, 1908 from Eyewitness to History.com

Modern Times

By charles chaplin, modern times themes, man vs. machine.

Chaplin learned that men were suffering from nervous breakdowns on the assembly lines at Henry Ford's auto plants, and was moved by this to make the incompatibility of man and machines into a major theme in Modern Times . For the first few scenes of the film, the Tramp is gradually broken down by a machine that keeps on speeding up and expecting more and more from him. He nearly becomes a piece of machinery himself, able only to tighten bolts, as shown when he continues twitching as if tightening bolts even when he leaves the line. He fights this off twice and shakes the twitches away, but is eventually sucked into the gears of the machine, symbolically succumbing and become part of the machine. This proves too much for the Tramp, who then completely breaks down and runs around the factory trying to destroy it. This theme comes back later, when the Tramp is back in the factory and the machine angrily spits the tools at him and the mechanic, and when the mechanic is eventually sucked into the machine in a similar way. The growth that came from the factories at this time was enormous, and while the country saw new inventions make life better for some, many suffered in order to make that progress possible, as Chaplin points out in the film.

Looming presence of the powerful, powerlessness of the poor

In the early factory scenes, we see The Tramp take a smoke break in the bathroom and the President of the factory booms in over a closed circuit television to tell him to get back to work. This ubiquitous presence, as well as the President having the only voice in the factory, creates a feeling that the powerful (those connected with industry or the government) are constantly looming over the workers or the less fortunate, and gives a sense that the workers are always under watch or being controlled. We also see this when the workers enter the factory, and the foremen are shot from below as they stand high up on machines and walkways, watching over the workers. We also feel this presence in the end of the film, in the welfare officers' search for The Gamin . Throughout the entire film, we know that the police are present and ready to detain anyone breaking the law. All of these are forces that the working man constantly feels in his day to day life. In order to prevent rebellion, the ruling class trains workers to be obedient and subservient. This is shown clearly with the Tramp’s obsession with punching in his time card, one of the important rules of his supervisor. He must punch in and out when he goes to the bathroom, and even punches in and out when he runs out of the factory and returns during his nervous breakdown.

Unemployment, Poverty, and Crime

Unemployment is ubiquitous throughout the film, as most people struggle to find work and, as a result, struggle to support themselves. The Tramp has incredible difficulty finding work after his first stint in the mental hospital, and the Gamin’s father struggles similarly. Machines have replaced human jobs under the pretense that they will increase efficiency and improve lives, but mostly they have only succeeded in creating mass poverty. We also see the link between poverty and the prison system when the Tramp goes around the city trying to get himself arrested because at least he will be fed in prison. This suggests a strong critique of the lack of a practical welfare system, the absence of which makes it better to be in jail than among the unemployed. Unemployment also causes an increase in crime, and we see former factory workers stealing at the department store not because they are ruthless thieves, but because they are hungry. This is hardly different from the Gamin’s stealing of bananas to feed her family at the start of the film.

Technology and Efficiency

One of Chaplin’s biggest issues with the advancement of technology was the obsession with efficiency that came with it. In a conversation with Gandhi before producing the film, Chaplain came to see that technology that only considered profit had ruined lives and caused unemployment. Because of this, he tried to use the film to dramatize the problems with excessive technological efficiency. We see early on that the President’s desire to speed up the factory more and more is what causes the Tramp’s breakdown, but he even more poignantly criticizes efficiency with the feeding machine sequence. The use of a “mechanical salesmen” is meant to demonstrate that efficiency can quickly become ridiculous, as this technology is used to standardize the sales pitch, but takes away a job from the salesmen even though they need to be there anyway to show off the machine. The machine itself is also ridiculous—in an effort to increase efficiency, it turns the workers into animals who feed at a trough, and takes away a great deal of their freedom. The final punch line in the scene is when the President rejects the machine, not because of the harm it caused his workers, but simply because it is not practical or efficient enough.

Communism and Workers' Rights

Communism and labor unions feature heavily in the film, and this focus likely came both from the prevalence of labor struggles at the time, as well as Chaplin’s sympathy with workers’ rights movements. He was becoming increasingly outspoken about his political views and was just beginning to suffuse them into his films at this time, and he staunchly opposed the treatment of workers and unions by the government and industry leaders. Anti-communist attitudes were mounting during this time, especially in the US, toward a peak in the 1940s and 1950s, and he saw these attitudes as oppressive.

Chaplain criticizes communist paranoia clearly in the scene in which the Tramp is arrested (and beaten) as a communist simply for waving a flag in the wrong place at the wrong time. Throughout the film, we see examples of police being used to break up workers protests, treating workers with excessive force, and constantly siding with industry over workers, which Chaplin saw as problematic and undemocratic. These opinions would get Chaplin in trouble in the US later, where he was suspected of having communist ties and had his visa revoked during the years of the House Un-American Activities Committee.

Hope and The Good Life

Despite the hardship that the Tramp and the Gamin face, they maintain hope for a better life throughout the film, which keeps them going. Until he meets the Gamin, the Tramp seems to have given up on a better life and is resigned to returning to prison in order to at least stay fed. Once they are together, she brings hope back into his life, and they build each other up and help each other maintain hope. They plan a future together, and the fantasy sequence of them in a suburban house together shows their idea of what a good life entails—they live peacefully in a large, clean house with plenty of room, and most importantly, they always have plenty to eat. Despite having, in reality, almost nothing, their hope for this life sustains them, maintains their relationship, and keeps them going through even terrible circumstances. The ending of the film more clearly articulates this idea, as the Gamin is ready to give up and begins crying, but the Tramp turns her mood around by getting her to buck up and maintain hope. After this touching scene, they walk into the sunset cheerfully, as if they have little to worry about and a happy life.

Class Divisions and Hunger

The main characters of the film are almost constantly starving, having very little to feed themselves, and often needing to steal to survive. We see that the Gamin must steal bananas to feed her family, and that their family dinner consists only of those bananas. Later, she meets the Tramp while trying to steal a loaf of bread to feed herself. In prison, the Tramp hardly gets anything to eat, but it is better than nothing, and so he tries to return—because at least there he won't starve to death. Big Bill and two other unemployed men break into the department store in order feed themselves. At the same time, we see that many of the wealthy in society live opulently, with plenty to eat and many luxuries. This divide is shown most clearly in the department store sequence—in the night, the Tramp and the Gamin are able to briefly experience life the way the other half lives, and they forget their troubles and have fun for a night. They finally feed themselves, and they are able to enjoy recreation and a comfortable bed. The fact that their class bars them from true access to such things is apparent the next morning, when they are found to be out of place in the department store and are removed. We can also clearly see how much more the wealthy have, to a point that is excessive, while the poor have almost nothing. These divisions come out clearly earlier as well, when the Gamin tries to steal the bread and a wealthy woman in fine clothes, who cannot understand the Gamin’s struggles, gets her in trouble. In the fantasy sequence as well, we see that part of how the Tramp thinks the wealthy live is that they have so much food that they can just waste it and throw away half-eaten oranges.

GradeSaver will pay $15 for your literature essays

Modern Times Questions and Answers

The Question and Answer section for Modern Times is a great resource to ask questions, find answers, and discuss the novel.

why is it significant that the president's voice is only heard in the first scene

The President has all the power and the workers are voiceless.

When the trump leaves the hospital, the doctor tells him to

Take it easy and avoid excitement.

Why is it significant that the president’s voice is the only one heard in the factory in the first few factory scenes?

The President represents progress even at the expense of humanity or safety of emplyees: he represents progress and greed. An inventor and two salesmen come to the factory to try to sell the President a Feeding Machine, which feeds the workers...

Study Guide for Modern Times

Modern Times study guide contains a biography of Charles Chaplin, quiz questions, major themes, characters, and a full summary and analysis.

About Modern Times
Modern Times Summary
Character List
Director's Influence

Essays for Modern Times

Modern Times literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Modern Times.

Modern Times and Issue of Advancing Technology
Between Shots

Wikipedia Entries for Modern Times

Introduction

“Modern Times” the Movie by Charlie Chaplin Essay (Movie Review)

Introduction, genre analysis, application, works cited.

When seeking a movie that is emblematic of comedy as a genre, one would inevitably mention a film directed by Chaplin, the Modern Times released in 1936 being the most common example. Modern Times was released and distributed by the United Artists Corporation, Chaplin being the main star of the film and impersonating an employee working at an assembly line (“Modern Times” par. 1). Although the film did not belong to any particular movement, it set the standard for slapstick comedy and, therefore, should be seen as a crucial art piece.

The plot of Modern Times is surprisingly complex for a comedy. The presence of numerous details and themes elevates the genre and the film to a new level, thus wetting the standards that other movies would try to achieve and supersede in the future. Modern Times starts with the lead character being employed as an assembly line worker. The lead character quickly loses track of his responsibilities and introduces confusion and havoc to his workplace (“Modern Times 1936”).

After being imprisoned and then placed in a hospital, he asks to be put in jail again, but with little success. Soon he comes across a little orphan, Ellen, who stole a loaf of bread. The Little Tramp assumes the responsibility for the theft, but a casual witness prevents him from doing so. Afterward, he rescues Ellen from imprisonment and is hired at a department store, where he meets three burglars (“Modern Times – Overview” par. 2).

They face numerous challenges as they try to find jobs and escape the police. After a moment of hesitating whether their efforts are worth anything, the Little Tramp and Ellen decide to start their lives anew, which their walk down the road at dawn symbolizes ( Modern Times ). Being a comedy and one of the pioneers of the genre, Modern Times might be seen merely as a combination of physical humor and an absurd premise, yet it also reflects socioeconomic anxieties of the time, thus becoming extraordinarily relatable to its viewers.

The tendency to see “Modern Times” as a staple of the comedy is a rather telling, albeit somewhat subjective, justification for defining the genre of the movie. On the one hand, Modern Times meets the criteria of both Bergson’s and Freud’s definition by representing “something formal under attack by something informal” (Bishop 23). Indeed, in “Modern Times,” Little Tramp challenges the status quo by bringing chaos to the factory, which, on a superficial level, can be viewed as the main source of comedy.

On the other hand, the underlying anxiety about the industrial revolution and its possible effects on economic and social issues, such as employment and dependency on automated technology, also becomes the emotional core of the movie (Fawell 21). Thus, “Modern Times” not only establishes the idea of comedy but also expands it, implying that it should not be restricted by its own rules. As a result, the dramatic nature of “Modern Times” also becomes apparent to viewers.

The presence of profound social, economic, and philosophical contemplations in the movie raises the question of whether Modern Times qualifies as a silent comedy or whether it should be seen as an example of silent drama. However, since the film has already been defined as comedic by the sources that have unquestionably high authority, one may instead posit where the boundary between comedy and drama lies. Indeed, the frames of comedy as a genre have been expanding over the decades of its evolution, incorporating new elements and ideas. For instance, Gies and Wall argue that comedy should have “socioeconomic valence” that challenges the audience and encourages social progress (6). Therefore, the genre of silent comedy, to which the movie belongs, is characterized by high levels of complexity.

The movie incorporates a range of techniques that allow it to stand out from the rest of the comedies. Specifically, one needs to mention the use of lighting and music as the elements that contribute to the creation of a humorous scenario. Similarly, the editing in the movie is quite impressive. The timing is perfect, with each punch line being delivered exactly at the moment when it is needed. As a result, Modern Times makes very efficient use of visual humor.

Modern Times warrants the title of a comedy primarily for the innovative use of physical humor and the creation of scenarios that are deemed as absurd to a viewer. For instance, the very idea that a factory worker would start a fight with a machine, let alone a rampage at the workplace, is unbelievable enough to make audiences laugh. The mise-en-scène involving the lead character’s outburst of anger at the factory is particularly worthy of attention as an example of stellar comedy.

In the specified scene, the comedic timing, the frontal space, and wide-key lighting also help juxtapose the well-functioning mechanism of the factory with the extraordinary behavior of the character. These components allow taking the level of absurdity in the movie to the maximum (Austerlitz 13). Arguably, these elements help make the scene both comedic and tragic due to the social context that it conveys.

The movie should also be credited for the excellent performance of every actor. The lead character steals the entire film whenever he appears on the screen. However, the rest of the cast also creates the required impression. Thus, they allow the audience to experience the movie fully. As the viewers see the exchange between Little Tramp and the burglar, they notice a combination of genuineness and absurdity of the situation (Flom 103). As a result, the scene makes viewers laugh due to the comic effect. Thus, with a cadence of perfectly natural and just as surreal scenes, Modern Times provides a unique experience. The actors perform masterfully, representing their characters naturally. Their every move elicits an emotional response from viewers.

Nonetheless, Modern Times does not fully meet the criteria for silent comedy by extending it and pushing the envelope regarding themes, and introducing a profound social commentary on the technological progress and its effects. While the specified aspect of the movie’s characteristics cannot technically be seen as a flaw, it does not allow viewing Modern Times solely as a comedic film intended to make the audiences laugh.

Therefore, Modern Times needs to be recognized as the film that challenged the audience’s perception of comedy. Little Tramp elevated the idea of comedy to the point where it elicited mixed emotions and made the lead character not only funny but also sympathetic and identifiable. As a result, the main character became relatable enough for the viewer to sympathize with his cause, which is ultimately the plight of the labor force to retain their employment. At the same time, Modern Times stayed amusing enough to be comedic.

Little Tramp is one of those movies every scene in which could be framed as a masterful picture. However, the scene that cements the key idea of the movie occurs at the very end. As Little Tramp and Ellen stand up, take each other by the hand, and start a new journey, the key philosophical theme of the film is revealed.

Little Tramp was one of the pioneers of comedy as a genre. It introduced its audience to the concept of silent comedy, combining social commentaries with visual and physical humor. Furthermore, the movie featured very compelling characters to whom audiences could relate. As a result, Little Tramp entered the pantheon of world-renowned movies that changed the landscape of cinema. Challenging and thought-provoking, the movie questioned the social issues of the time. Nevertheless, ti remains relatable due to its timeless characters and unforgettable humor.

Austerlitz, Saul. Another Fine Mess: A History of American Film Comedy . Cappella Books, 2011.

Bishop, Ryan. Comedy and Cultural Critique in American Film . Edinburgh University Press, 2014.

Gies, David T., and Cynthia Wall. The Eighteenth Centuries: Global Networks of Enlightenment . University of Virginia Press, 2018.

Fawell, John. The Essence of Chaplin: The Style, the Rhythm and the Grace of a Master. McFarland, 2014.

Flom, Eric. Chaplin in the Sound Era: An Analysis of the Seven Talkies . McFarland, 2015.

“Modern Times.” Catalog.AFI.com , n.d. Web.

Modern Times . Directed by Charlie Chaplin, performances by Charlei Chaplin, Paulette Goddard, and Henry Bergman, United Artists, 1936.

“Modern Times 1936.” IMBD.com , n.d. Web.

“Modern Times – Overview.” TCM.com . 2018.

Chaplin’s “Modern Times” and 1986’s “The Fly”
Policing in Charlie Chaplin’s Modern Times
Compar Buster Keaton and Charlie Chaplin
“What Dreams May Come” the Drama by Vincent Ward: Can People Love Each Other More Than They Love God and Go From Heaven to Hell and Back?
Social Transformation Through Art: "Three Billboards Outside Ebbing, Missouri" by Martin McDonagh
“Tuesdays With Morrie” Film by Mick Jackson
"Adam's Rib" the Film by George Cukor
"Beauty and the Beast" by Bill Condon: A Picture That Becomes Reality
Chicago (A-D)
Chicago (N-B)

IvyPanda. (2021, June 17). “Modern Times” the Movie by Charlie Chaplin. https://ivypanda.com/essays/modern-times-the-movie-by-charlie-chaplin/

"“Modern Times” the Movie by Charlie Chaplin." IvyPanda , 17 June 2021, ivypanda.com/essays/modern-times-the-movie-by-charlie-chaplin/.

IvyPanda . (2021) '“Modern Times” the Movie by Charlie Chaplin'. 17 June.

IvyPanda . 2021. "“Modern Times” the Movie by Charlie Chaplin." June 17, 2021. https://ivypanda.com/essays/modern-times-the-movie-by-charlie-chaplin/.

1. IvyPanda . "“Modern Times” the Movie by Charlie Chaplin." June 17, 2021. https://ivypanda.com/essays/modern-times-the-movie-by-charlie-chaplin/.

Bibliography

IvyPanda . "“Modern Times” the Movie by Charlie Chaplin." June 17, 2021. https://ivypanda.com/essays/modern-times-the-movie-by-charlie-chaplin/.

Supported by

The Best Films of 2024, So Far

Our critics pick nine films that they think are worth your time on this long holiday weekend.

Share full article

In a movie scene, a nerdy looking man in glasses and shirt sleeves stands in front of a green chalkboard with words like “subjectivity” and “knowledge” written on it.

By The New York Times

Looking for a good movie to pass the time this Memorial Day weekend? The New York Times’s chief film critic, Manohla Dargis, and movie critic, Alissa Wilkinson, have you covered. Here are their top picks for the year so far. All are in theaters or available on demand.

In theaters; June 7 on Netflix .

The story: Glen Powell is a philosophy professor who moonlights for the police in New Orleans when he finds himself undercover posing as a hit man in this Richard Linklater movie. An encounter with Madison (Adria Arjona), a housewife looking to hire him, raises the stakes, comedically and romantically.

Alissa Wilkinson’s take: “If I see a movie more delightful than “Hit Man” this year, I’ll be surprised. It’s the kind of romp people are talking about when they say that “they don’t make them like they used to”: It’s romantic, sexy, hilarious, satisfying and a genuine star-clinching turn for Glen Powell, who’s been having a moment for about two years now.” Read the review.

‘Civil War’

In theaters.

The story: Set in the near future, “Civil War” depicts a United States that has devolved into conflict between the Western Forces of California and Texas (yeah, yeah, we know) and the federal government. As photojournalists played by Kirsten Dunst, Wagner Moura and Cailee Spaeny make their way to Washington, D.C., they encounter dangerous and unsettling scenes, painting a disturbing portrait of America in this Alex Garland drama.

Manohla Dargis’s take: “Hollywood’s longstanding, deeply American imperative for happy endings maintains an iron grip on movies, even in ostensibly independent productions. There’s no such possibility for that in ‘Civil War.’ The very premise of Garland’s movie means that … a happy ending is impossible, which makes this very tough going. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.” Read the review.

‘Kingdom of the Planet of the Apes’

The story: Picking up generations after the last trilogy ended, Wes Ball’s action-adventure follows Noa (Owen Teague) after his clan has been attacked. On his own now, he meets up with Raka, a disciple of Caesar, the leader in the earlier movies, as well as a mute human (Freya Allen).

Alissa Wilkinson’s take: “‘Kingdom of the Planet of the Apes’ is set in the future, but like a lot of science fiction … there’s a knowing sense that all this has happened before, and all this will happen again. That’s what makes ‘Kingdom of the Planet of the Apes’ powerful, in the end. It probes how the act of co-opting idealisms and converting them to dogmas has occurred many times over.” Read the review.

‘Do Not Expect Too Much From the End of the World’

Stream it on Mubi ; rent or buy it on most major platforms .

The story: In Radu Jude’s scathing comedy, a foulmouthed production assistant named Angela (Ilinca Manolache) drives around Bucharest, Romania, looking for injured workers to interview for a workplace safety video.

Manohla Dargis’s take: “As she changes gears, and the movie switches between black-and-white film and color video, Angela flips off other drivers, acidly critiques all that she encounters, creates TikTok videos and effectively maps the geopolitical landscape of contemporary Romania.” Read the review.

‘Late Night With the Devil’

Stream it on Shudder ; also rent or buy it on most major platforms .

The story: In this horror show from the brothers Cameron and Colin Cairnes, David Dastmalchian is a Johnny Carson-like late-night host desperate for ratings and awards. The film purports to be the footage of the episode that “shocked a nation.”

Alissa Wilkinson’s take: People watch late-night TV “to laugh, to be entertained and to feel some kind of companionship when the rest of the world goes to bed. ‘Late Night With the Devil’ twists that camaraderie around on itself, layering in familiar 1970s horror tropes about demonic possession, Satanism and the occult. The result is a nasty and delicious, unapologetic pastiche with a flair for menace. I had a blast.” Read the review.

‘Evil Does Not Exist’

The story: In a rural hamlet outside Tokyo, a developer tries to sell skeptical locals on the benefits of a glamping resort. As the residents push back against the prospect of tourism upending their quiet rhythms, the developer’s representatives come to see their point of view in Ryusuke Hamaguchi’s deceptive drama.

Manohla Dargis’s take: “I have watched ‘Evil Does Not Exist’ twice, and each time the stealthy power of Hamaguchi’s filmmaking has startled me anew. Some of my reaction has to do with how he uses fragments from everyday life to build a world that is so intimate and recognizable — filled with faces, homes and lives as familiar as your own — that the movie’s artistry almost comes as a shock.” Read the review.

‘Ryuichi Sakamoto: Opus’

The story: In this documentary from Neo Sora, the influential Japanese musician Ryuichi Sakamoto plays his entire final concert. It was filmed in a studio with only the crew watching.

Alissa Wilkinson’s take: “Even for the viewer without much knowledge of Sakamoto’s work, ‘Opus’ holds its own as the rare cinematic space for contemplation. There’s no context given, no attempt to create a narrative. Instead, the visual space is carefully filmed and the lighting manipulated to subtly shift the mood.” Read the review.

‘Io Capitano’

Rent or buy it on most major platforms .

The story: Matteo Garrone’s drama tracks Seydou and Moussa, two Senegalese cousins (Seydou Sarr and Moustapha Fall), as they try to reach the West on a journey that takes them through the Sahara to a brutal stay in Libya, and then eventually to the edge of the Mediterranean.

Manohla Dargis’s take: “Garrone doesn’t spare you much, but if the movie never turns into an exercise in art-house sadism, it’s because his focus remains unwaveringly fixed on his characters who, from the start, are fully rounded people, not props, symbols or object lessons. … His great strength here is the tenderness of his touch.” Read the review.

‘La Chimera’

Rent on most major platforms .

The story: In Alice Rohrwacher’s 1980s-set tale, Josh O’Connor is Arthur, a tomb raider in rural Italy who pines for his missing lover. Through her mother, Flora (Isabella Rossellini), he meets a music student, Italia (Carol Duarte).

Manohla Dargis’s take: “‘La Chimera’ sneaks up on you. Rohrwacher is a discreet virtuoso with a visual style that is appealing and demonstrably unshowy. She likes to crowd the frame, yet does so coherently, and while she uses different film formats throughout to indicate distinct moments and spaces, she doesn’t make a fuss about it. She reveals beauty rather than pummels you with it.” Read the review.

Explore More in TV and Movies

Not sure what to watch next we can help..

Season 49 of “Saturday Night Live” has ended. Here’s a look back at its most memorable monologues, sketches, product parodies and impressions .

“Megalopolis,” the first film from the director Francis Ford Coppola in 13 years, premiered at the Cannes Film Festival. Here’s what to know .

Why is the “Planet of the Apes” franchise so gripping and effective? Because it doesn’t monkey around, our movie critic writes .

Luke Newton has been in the sexy Netflix hit “Bridgerton” from the start. But a new season will be his first as co-lead — or chief hunk .

If you are overwhelmed by the endless options, don’t despair — we put together the best offerings on Netflix , Max , Disney+ , Amazon Prime and Hulu to make choosing your next binge a little easier.

Sign up for our Watching newsletter to get recommendations on the best films and TV shows to stream and watch, delivered to your inbox.

Top 30 Most Epic Modern Movie Moments

Posted: May 25, 2024 | Last updated: May 25, 2024

Cinematic nostalgia! Welcome to WatchMojo, and today we’re looking at standout scenes from modern films - that’s 1980 and onwards.

More for You

A happy senior holds her phone and smiles iStock-1462022621

How Much Does the Average Baby Boomer Have in Savings?

6 Of The Worst Things To Order At Subway, According To Employees

Video Showing Donald Trump's Bronx Rally Crowd Size Goes Viral

A Sprinkle Of This Popular Spice Will Keep Roaches Out Of Your House

Older People Are Holding Nothing Back About What It's Really Like To Get Old

A look into a new Florida mansion Michael Jordan added to his ever-growing luxury real estate portfolio

"That's probably what I would have changed" - Michael Jordan regretted not including Luc Longley in The Last Dance

20 facts you may not know about 'The Mummy'

The Costco Alcohol Fact That You May Not Have Realized

Netflix's Most Ambitious Sci-Fi Show Won't Be Coming Back Anytime Soon

Use This Unexpected Ingredient From Your Fridge For A Squeaky Clean Grill

Taylor Swift Gives Emotional Speech at Second Eras Show in Lisbon, Says It's 'An Absolute Dream' to Be There

Popular retail chain closing all stores in Chapter 11 bankruptcy

EAST RUTHERFORD, NEW JERSEY - OCTOBER 17: Matthew Stafford #9 of the Los Angeles Rams looks to pass against the New York Giants in the first quarter at MetLife Stadium on October 17, 2021 in East Rutherford, New Jersey. (Photo by Rich Schultz/Getty Images)

Unhappy With $120 Million Contract, Matthew Stafford Takes Unique Approach To Dispute With Rams

The iconic road everyone should drive down at least once in your state

Garfield by Jim Davis

12 Hacks For Cooking Fish You'll Wish You Knew Sooner

15 Times Supporting Characters Stole The Show

A builder works on the construction of a new home.

Colorado takes a new – and likely more effective – approach to the housing crisis

Where Are Jaycee Dugard and Her Daughters Today? A Look at Their Lives After Abduction

Oleksandr Usyk's Punch Stats By Compubox Against Tyson Fury Reveals Dominance

Tyson Fury Suspended from Boxing Following Defeat to Oleksandr Usyk

Building Power in Modern Times | Friday Khutbah - Nouman Ali Khan (Every Muslim Must Listen This)

Podcast Episode

Add a plot in your language

User reviews

May 24, 2024 (United States)
See more company credits at IMDbPro

More to explore

Game of Thrones: The Night’s Watch, Explained

The Night's Watch has a long and storied history in Game of Thrones, even if it has fallen on hard times in modern-day Westeros.

The Night's Watch was founded 8000 years before the events of Game of Thrones to combat White Walkers during the Long Night.
The Night's Watch consists of men from all over Westeros, and they are sorted into one of three distinct roles.
Since being founded, The Night's Watch has significantly diminished in status

For all the lore that Game of Thrones covers, there are still many parts of Westeros and its history that never get a true explanation. Take, for example, the Night's Watch. They are an order stationed on the mysterious superstructure known as the Wall to guard the realms of men against the dangers that lie to the North. In the show, fans got to see how the Night's Watch protected the Seven Kingdoms from Wildlings, only for the White Walkers to slowly emerge as the true threat.

In addition. the Night's Watch was severely undermanned and barely a shadow of the mighty force it had once been. All of this poses the question of how they came to be the way they are, as well as the true purpose of their organization. Fortunately, George R.R. Martin's A Song of Ice and Fire novels provided fans with a plethora of answers regarding the Night's Watch that Game of Thrones never got to cover.

The Origins of the Night's Watch

The Night's Watch was founded 8000 years before the events of Game of Thrones .
Legend says the Night's Watch formed to push the White Walkers back into the far North, but these rumors are unconfirmed.

This Forgotten Targaryen Warrior Is Game of Thrones' Most Important Legend

In truth, the Night's Watch may very well be the oldest order in Westeros. It certainly has the longest known lifespan, surviving not only the Long Night, but the Fall of the First Men, the invasion of the Andals, and the Targaryen Conquest . According to legend, the Night's Watch was founded around 8,000 years before the events of Game of Thrones during a period known as the Long Night — a period where the White Walkers (or "Others" as they are properly known in Martin's books) invaded Westeros and wreaked havoc. The Night's Watch was formed to combat the Others, and in a legendary conflict known as the Battle for the Dawn, the Night's Watch apparently managed to drive back the Others.

Shortly after their victory, a Brandon of House Stark , usually thought to be Brandon the Builder, constructed the Wall to defend the realms of men. While the Others had been defeated, they were not truly destroyed and many feared what their return would mean. The Night's Watch was stationed at the Wall and its many fortresses to keep guard in the event the Others did return. Unfortunately, millennia of duty without a hint of their true foe's presence caused the Night's Watch to slowly lose sight of their original mandate, instead becoming more focused on fighting the Wildlings who lived North of the Wall.

It wasn't until decades after Aegon's Conquest that the Night's Watch truly began to decline. It was Jaehaerys Targaryen who began the policy of offering the Night's Watch as a way to avoid being punished for crimes committed within the Seven Kingdoms. This increased the Watch's numbers significantly, especially when considering how many enemies House Targaryen had at the time, but it also diminished the quality of men who joined. Prior to this, joining the Night's Watch was considered an honor, a sacrifice made in the name of duty to Westeros. Now, that honor had been sullied by those who saw joining up as a preferable choice to being beheaded.

The Structure of the Night's Watch

The members of the Night's Watch are sorted into one of three roles : Stewards, Builders, and Rangers.
Overseeing the entirety of the Night's Watch is the Lord Commander, who is the highest-ranking member of the organization.
Anyone can be voted in as Lord Commander of the Night's Watch, regardless of their prior status.

One of Game of Thrones' Best Fighters Was Much Different in the Books

The Watch is not a particularly complex organization. At the height of its power, the Night's Watch boasted an impressive army of ten thousand men who all garrisoned the fortresses lining the Wall. All of these men swore neutrality when it came to matters of politics. The Night's Watch duty was to guard the realm, not whichever king or queen claimed ownership of it. There was even an unspoken agreement never to discuss politics or previous allegiances among their own, allowing them to focus on their duties to the realm instead.

The Night's Watch is divided into three orders: stewards, builders, and rangers. Each of them plays a vital role in the management of the Watch. The Stewards essentially manage day-to-day affairs, making sure the order's members are fed, hunting and farming for food, and maintaining equipment among other things. The Builders are responsible for maintaining the nineteen castles the Night's Watch owns as well as the Wall itself, ensuring that neither falls into disrepair. Finally, the rangers are the main fighting force of the Night's Watch, going beyond the Wall to track and battle Wildlings — or, in rare cases, White Walkers.

At the head of the entire Night's Watch is the Lord Commander, who has the final say in all matters. Interestingly, the position of Lord Commander is one of the few democratically chosen positions within the entire world of Westeros . The brothers of the Night's Watch vote on the postion, and anyone can be nominated. While this role is typically filled by someone with a high-born background or some kind of training, it still means anyone can rise to the position of Lord Commander. This duty, much like the rest of the Night's Watch vows, is for life. A new Lord Commander cannot be chosen until the old one is dead.

The Night's Watch in the Modern Era

The Night's Watch is barely functioning by the events of Game of Thrones , as evidenced throughout most of the show.
The once proud order known as the Night's Watch has been reduced to little more than a penal colony, composed of the realm's worst criminals.

These Fan-Favorite Game of Thrones Characters Didn't Share the Screen Nearly Enough

Unfortunately for the Night's Watch, time has been its greatest enemy. With thousands of years passing since their original enemies fled into the deepest parts of the North, the Night's Watch have all but forgotten their original purpose. Compounding this issue is that as time passed, most of Westeros has largely come to disregard the Night's Watch and their efforts. Only the Northerners bother to remember the old days when things were darkest, but even they don't provide the support the order needs.

By the events of Game of Thrones , only three of the nineteen castles the Watch possesses are manned and attempts by the leadership to get the others running again have repeatedly failed. There are even some among the North who believe it would be better to give the land granted to the Watch to different lords so that they can better supply and defend the realm against Wildling attacks. The biggest problem for the Night's Watch is how remote the Wall is from the rest of the world. By the time news arrives from the Wall of any imminent danger, it is usually too late, with whatever threat the Night's Watch is facing either already there, or already gotten past them.

In the modern day, the Night's Watch is viewed as a more benevolent form of exile for criminals who are desperate to avoid execution or a convenient location to ditch legitimate sons from families with too many members. The purpose of the Night's Watch was once duty and sacrifice, but by the time Jon Snow joins them , it has become a joke of what it once was.

Game Of Thrones

*Availability in US

Not available

Nine noble families fight for control over the lands of Westeros, while an ancient enemy returns after being dormant for a millennia.

Accessibility Links

Horizon: An American Saga — Chapter 1 review — Kevin Costner’s tantalising western

Sienna Miller and Kevin Costner in Cannes to promote the film

★★★☆☆ Kevin Costner has brought some serious TV energy to Cannes, in good and bad ways, with this new cowboy epic. The 69-year-old actor-director-producer helped reimagine the western by modernising it in his small screen multi-series hit, Yellowstone . Here he has taken TV’s gargantuan impulse for long-running, interrelated narratives but applied that to a movie western that’s positively, even blatantly, old-fashioned. The story template, in fact, is the 1962 Cinerama blockbuster How the West Was Won , which jumped across five different tales to describe a foundational American myth.

This film starts with the heading “1859, San Pedro Valley” and then jumps between disparate locations, including “Wyoming Territory”, while very slowly establishing the tendrils of stories that all relate to Horizon, a nascent Arizona

This new version of Rebus has a dark charisma

an image, when javascript is unavailable

By providing your information, you agree to our Terms of Use and our Privacy Policy . We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply.

‘The Most Precious of Cargoes’ Review: Michel Hazanavicius’ Animated Palme d’Or Contender Is an Elegant Fable About the Darkest of Times

Leila latif.

Share on Facebook
Share to Flipboard
Share on LinkedIn
Show more sharing options
Submit to Reddit
Post to Tumblr
Print This Page
Share on WhatsApp

Now, 14 years later, an equally difficult subject matter is drawn across the screen with “ The Most Precious of Cargoes ,” an unflinching but elegant Holocaust fable adapted from Jean-Claude Grumberg’s 2019 novella of the name name. Related Stories ‘Gremlins’ Director Says Warner Bros. ‘Hated’ the Christmas Scene and Urged Theaters to Cut It Out Film Academy Workers Agree to First-Ever Union Contract with AMPAS

The film takes place in a dark, wintry forest on the outskirts of Auschwitz during the height of World War II. A poor woodcutter and a poor woodcutter’s wife (they are only ever named as such) have lost their only child and aged out of the potential to have more. They pass their days in uneasy détente, him content without worrying another mouth to feed while she prays to every god at her disposal for another chance at motherhood.

It’s a cold, cruel world; always winter, but never Christmas, and the snowflakes that dance gently upon the wind evoke the ashes that rise from the fiery stacks of the nearby camp.

It is in this desolate landscape that the grieving woodcutter’s wife discovers a rare sign of life from a train track nearby their home, one whose travelers are destined for the concentration camp so close by. Naively, she identifies it as a symbol of hope and prays to the “god of the train” to ease her suffering. The train itself is one of the more stunning animated elements, and its fine line work and depth of color become increasingly bold as the truth of its purpose is revealed. It shifts from vibrant sign of modernity to something truly demonic, screeching through the frozen wilderness to reach the gates of Hell.

As the film goes on, we get to see beyond the lives of the poor woodcutter and the poor woodcutter’s wife, journeying both into the train itself and the circumstance that led to a beloved baby being thrown into the snow to avoid a much more cruel fate within Auschwitz. As the film retains its exquisite aesthetic, Hazanavicius pushes beyond the gates of the concentration camp, juxtaposing it with the ugliness of mankind and, as the poor woodcutter’s wife comes to understand, what actually brought this child into her life. It was not a god’s generosity, but his abandonment.

While Hazanavicius doesn’t seem to know how to end his story and like, in the “Lord of the Rings” trilogy, the film concludes with a series of codas. each of which diminishes the power of the one prior. Even with a slim 81-minute running time, the film’s final act begins to bloat and Hazanavicius’ direction feels less self-assured. The filmmaker adopts unsubtle new animation flourishes to depict the lingering traumas, but none have the elegance of his opening images of white flakes falling over tree stumps, and the narration becomes equally heavy-handed.

As a contender for the Palme d’Or, “The Most Precious of Cargoes” might not have quite the legacy of “Waltz with Bashir” ahead of it, but it’s a compelling argument that Cannes should not wait another 16 years to give animated work a chance to compete for its most precious award.

“The Most Precious of Cargoes” premiered at the 2024 Cannes Film Festival. It is currently seeking U.S. distribution.

Most Popular

‘The Damned’ Review: In His Latest Look at America’s Margins, Roberto Minervini Travels Back to the Civil War

The Italian-born director has lived in the United States for more than two decades, bringing the insights of an outsider to overlooked communities in his first period piece.

By Peter Debruge

Peter Debruge

Chief Film Critic

‘The Most Precious of Cargoes’ Review: An Animated Fable from the Director of ‘The Artist’ Finds Hope in the Holocaust 3 hours ago
‘The Seed of the Sacred Fig’ Review: Repression Hasn’t Chastened Mohammad Rasoulof, Who Responds With a Marathon Domestic Critique 6 hours ago
‘Anora’ Review: Sean Baker’s Whirlwind Sex-Work Romance Sparkles Like the Tinsel in Its Leading Lady’s Hair 3 days ago

Set during the Civil War, a long way from the front lines, Roberto Minervini ’s “ The Damned ” continues the Italian helmer’s career-long examination of the rifts and affinities between overlooked segments of American society. Apart from one long, destabilizing battle with an unseen adversary, the portrayal is a relatively peaceful one, following a group of Union soldiers assigned to scout the Northwestern frontier in 1862. While the country is divided, this assignment brings together men of different backgrounds, fostering camaraderie and mutual respect (surprisingly, the topic of slavery never comes up, though God factors into multiple conversations).

Popular on Variety

With their full beards and blunt features, the men in Minervini’s cast look less like professional actors than the authentic Civil War soldiers seen in daguerreotypes of the time (especially Tim Carlson, of the family featured in “Stop the Pounding Heart,” as the Sergeant). Characters have a way of drifting in and out of Minervini’s films, and “The Damned” is no different, despite its more structured premise. A select group of troops travel to Montana, bonding among themselves for a time, before a run-in with Confederate snipers drastically reduces their ranks.

Minervini’s style has always blurred the lines between documentary and fiction, and here — in Civil War reenactment mode, as participants play themselves in period garb — he covers the ambush the way a war photographer might. DP Carlos Alfonso Corral, who shot Minervini’s striking black-and-white doc “What You Gonna Do When the World’s on Fire?,” chases after the soldiers as they duck for cover and attempt to return fire. Hidden by distant bushes, the enemy remains unseen, which makes the conflict that much more disconcerting.

Does “The Damned” really qualify as a war film? At times, the low-key approach may remind viewers more of Kelly Reichardt’s Oregon Trail saga, “Meek’s Cutoff,” in that both films (set less than two decades and two states apart) provide an alternative to the conventional Hollywood Western. For instance, “The Damned” doesn’t even bother to identify the names of its characters, rejecting the 20th-century focus on the individual — where heroic characters might be played by John Wayne or Henry Fonda — in favor of a collective sea of faces.

That’s something so many war movies get wrong: When men enlist in the Army, they agree to put the cause ahead of themselves. It becomes their duty to accept orders, however counterintuitive, whereas in Hollywood movies (of the past 50 years, at least), authority is nearly always wrong, and success is only possible when someone steps out of line and does what’s right. In reality, such behavior would almost surely get the fanatic (and many of his comrades) killed.

In a challenge to America’s own mythology, Minervini dispenses with such tropes, while allowing his characters — including a fresh-faced teen known only as ”Young Soldier” (Judah Carlson) — space to reflect on their reasons for signing up. They question the existence of God, debate the ideas of good and evil, and try to make sense of their mounting disillusion. “The Damned” has a tendency to meander, but in so doing, it strives toward something authentic.

Reviewed at Wilshire Screening Room, May 6, 2024. In Cannes Film Festival (Un Certain Regard). Running time: 88 MIN.

Production: (Italy-U.S.-Belgium) An Okta Film, Pulpa Film production with Rai Cinema, in coproduction with Michigan Films, VOO OBE Be tv, Shelter Prod, in association with Stregonia, Moonduckling Films, with the support of MiC – Direzione Generale Cinema e audiovisivo, Centre du cinéma et de l’audiovisuel de la Fédération Wallonie-Bruxelles, Fondo Audiovisivo Friuli Venezia-Giulia, Taxshelter.Be and ING, Tax shelter du Gouvernement féderal de Belgique, Film Commission Torino Piemonte, Federal tax credit program of Canada (Cavco), Provincial tax credit program of Québec, in collaboration with Kaibou Production. (International sales: Les Films du Losange, Paris.) Producers: Paolo Benzi, Denise Ping Lee, Roberto Minervini, Paolo Del Brocco. Executive producers: Teresa Mannino, Jean-Alexandre Luciani, Annette Fausboll. Co-producers: Alice Lemaire, Sébastien Andres.
Crew: Director, writer: Roberto Minervini. Camera: Carlos Alfonso Corral. Editor: Marie-Hélène Dozo. Music: Carlos Alfonso Corral.
With: Jeremiah Knupp, René W. Solomon, Cuyler Ballenger, Noah Carlson, Judah Carlson, Tim Carlson, Bill Gehring.

More From Our Brands

Google’s ai overview is spreading conspiracies and could encourage self-harm, harry connick jr. is asking $12.5 million for his coastal new england retreat, anthony edwards’ business team is ‘prepared for this moment’, the best loofahs and body scrubbers, according to dermatologists, chicago p.d.: here’s why halstead didn’t appear in the season 11 finale, verify it's you, please log in.

IMAGES

Movie Review
Charlie Chaplin
Charlie Chaplin
Movie Review
Movie Review : The Modern Times
Tempi moderni (Modern Times)

VIDEO

Modern Times X Nishi Raat
திக் திக் நிமிடங்கள்
திக் திக் நிமிடங்கள்
This women slapped her daughter four times #shorts
Новогодние передачи на ICTIMAI TV & ATV
Smile

COMMENTS

Modern Times movie review & film summary (1972)
With "Modern Times," a fable about (among other things) automation, assembly lines and the enslaving of man by machines, he hit upon an effective way to introduce sound without disturbing his comedy of pantomime: The voices in the movie are channeled through other media. The ruthless steel tycoon talks over closed-circuit television, a crackpot ...
Modern Times
Ali Stevenson I love Modern Times so much I came back for the second showing! See my earlier post. See my earlier post. Rated 5/5 Stars • Rated 5 out of 5 stars 06/20/21 Full Review Dinos K ...
Analyzing Charlie Chaplin's "Modern Times"
Charlie Chaplin is an English actor who, in the early 1900s, rose to fame and popularity in the silent film industry. He became most recognizable through his iconic Tramp character, a social outcast with a kind heart. In "Modern Times," the Tramp finds himself living amidst poor financial conditions heightened by massive unemployment.
Modern Times Review :: Criterion Forum
<I>Modern Times</I>, Charlie Chaplin's last outing as the Little Tramp, puts the iconic character to work as a giddily inept factory employee who becomes smitten with a gorgeous gamine (Paulette Goddard). With its barrage of unforgettable gags and sly commentary on class struggle during the Great Depression, <I>Modern Times</I>—though made almost a decade into the talkie era and containing ...
Modern Times
Modern Times, underneath its farce, is a curiously passionate jibe at the herd-instincts and herd clangour of a machine age. Full Review | May 6, 2021 Elinor Ragin Orlando Sentinel
Modern Times (film)
Modern Times is a 1936 American part-talkie comedy film produced, written and directed by Charlie Chaplin.In Chaplin's last performance as the iconic Little Tramp, his character struggles to survive in the modern, industrialized world.The film also stars Paulette Goddard, Henry Bergman, Tiny Sandford and Chester Conklin.. Modern Times has won many awards and honors, and is widely considered ...
Modern Times Movie Review
Our review: Parents say ( 13 ): Kids say ( 11 ): Children will adore the slapstick in this movie, especially the scenes where Chaplin tries out the feeding machine and when he experiments with roller skates at the department store. Viewers have to remind themselves how prescient Modern Times was. To us, it may not be surprising that the boss ...
Modern Times Review
Read the Empire Movie review of Modern Times. The film's structure flew in the face of accepted wisdom. There was a narrative thread, but Modern...
Modern Times (1936)
Charles Chaplin, Paulette Goddard, Henry Bergman, Stanley Sandford. Rated. Unrated. Runtime. 87 min. Release Date. 02/06/1936. Asymmetrical in form, he cuts a distinctive figure. His derby hat rests upon his head at an angle, its slant accentuated by the straightness of his suspenders and the forced lines of his tight-buttoned coat.
Movie Review
As a film, Modern Times was the very antithesis of modernism - cinema had just embraced the age of the "talkie", while this film remained largely adherent to the silent movies Chaplin had stamped his legacy all over, so it was kinda against the grain (much like the film's central character, Chaplin's iconic Tramp); what Modern Times ...
Modern Times (re-release)
Playing a tramp struggling to survive in a modern industrial society, Charlie Chaplin created one of the most elaborate cinematic critiques of the effects of mass production on 20th century life with Modern Times. This digital restoration of the 1936 film entailed treating over 126,000 frames of film, correcting negative scratches and picture deterioration, and restoring its rich black and ...
Modern Times
Modern Times, American silent film, released in 1936, that starred Charlie Chaplin as a man at odds with modern technology. It is regarded as the last great silent film. The film, which was set during the Great Depression, centres on a luckless factory worker (played by Chaplin) who finds himself so unnerved by trying to cope with the modern equipment he must operate that he suffers a breakdown.
A Review of Charlie Chaplin's Film Modern Times
film criticism. Modern Times (1936) is a funny comedy; however, this silent film presents a very serious socialist critique of twentieth-century society. Chaplin portrays a factory worker on an assembly line that his tight-fisted employer keeps accelerating beyond the laborer's capacity to keep up. The control-freak owner values only ...
Modern Times (1936)
Modern Times, Charlie Chaplin's last outing as the Little Tramp, puts the iconic character to work as a giddily inept factory employee who becomes smitten with a gorgeous gamine (Paulette Goddard). With its barrage of unforgettable gags and sly commentary on class struggle during the Great Depression, Modern Times—though made almost a decade into the talkie era and containing moments of ...
Modern Times (1936)
Modern Times: Directed by Charles Chaplin. With Charles Chaplin, Paulette Goddard, Henry Bergman, Tiny Sandford. The Tramp struggles to live in modern industrial society with the help of a young homeless woman.
Modern Times (1936)
Permalink. 9/10. Solid comedy with great story and drama. 851222 28 June 2015. Greetings from Lithuania. "Modern Times" (1936) is my first movie which i saw that features Charles Chaplin. Saw it first time in 2015, but nevertheless it's a great movie. Comedy here is truly funny, and it's not just a comedy.
PDF film essay for 'Modern Times'
The world première of "Modern Times" took place at the Rivoli Theatre, New York City, on February 5, 1391 .The press reaction to "Modern Times" was decidedly mixed. Some were disappointed that the film begins as a satire of mass production that ulti-mately is not fulfilled. Further, the film does not have the integrated structure of ...
47 Facts About The Movie Modern Times
Comedy Facts. Great Depression Facts. 4+. Source: Flixwatch.co. Modern Times, a timeless classic directed by Charlie Chaplin, holds a special place in the history of cinema. Released in 1936, this iconic film not only entertained audiences worldwide but also shed light on the societal challenges of the era. As we delve into the intriguing world ...
Chaplin: Modern Times
Tue 14 Jul 1936 10.37 EDT. Modern Times, by one of those bewildering dispensations of the film industry, has taken so many months to reach Manchester that nobody would dare to call it 'Charlie ...
MODERN TIMES
"Modern Times" is acknowledged to be the last of the great silent movies. Although it does have some sound, there is no spoken dialogue. ... 1936 National Board of Review Awards: Ten Best Films of the Year. This film is listed in the National Film Registry of the U.S. Library of Congress as a "culturally, historically or aesthetically ...
Modern Times Themes
Unemployment, Poverty, and Crime. Unemployment is ubiquitous throughout the film, as most people struggle to find work and, as a result, struggle to support themselves. The Tramp has incredible difficulty finding work after his first stint in the mental hospital, and the Gamin's father struggles similarly.
"Modern Times" the Movie by Charlie Chaplin
Introduction. When seeking a movie that is emblematic of comedy as a genre, one would inevitably mention a film directed by Chaplin, the Modern Times released in 1936 being the most common example.Modern Times was released and distributed by the United Artists Corporation, Chaplin being the main star of the film and impersonating an employee working at an assembly line ("Modern Times" par. 1).
Movie Reviews
Not Rated. Drama, History. Directed by Marco Bellocchio. This film, based on a true story about the kidnapping of a Jewish child in 19th-century Italy, underscores the devastating consequences of ...
The Best Films of 2024, So Far
Josh O'Connor, center, in "La Chimera," the latest from Alice Rohrwacher. Neon. The story: In Alice Rohrwacher's 1980s-set tale, Josh O'Connor is Arthur, a tomb raider in rural Italy who ...
Top 30 Most Epic Modern Movie Moments
Top 30 Most Epic Modern Movie Moments. Posted: May 25, 2024 | Last updated: May 25, 2024. Cinematic nostalgia! Welcome to WatchMojo, and today we're looking at standout scenes from modern films ...
Building Power in Modern Times
IMDb is the world's most popular and authoritative source for movie, TV and celebrity content. Find ratings and reviews for the newest movie and TV shows. Get personalized recommendations, and learn where to watch across hundreds of streaming providers.
Game of Thrones: The Night's Watch, Explained
In truth, the Night's Watch may very well be the oldest order in Westeros. It certainly has the longest known lifespan, surviving not only the Long Night, but the Fall of the First Men, the invasion of the Andals, and the Targaryen Conquest.According to legend, the Night's Watch was founded around 8,000 years before the events of Game of Thrones during a period known as the Long Night — a ...
Horizon: An American Saga
FILM REVIEW. Horizon: An American Saga — Chapter 1 review — Kevin Costner's tantalising western. Kevin Costner's western epic is a throwback to the Cinerama blockbusters of the 1960s, with a modern twist. Kevin Maher. Sunday May 19 2024, 11.30pm, The Times. Sienna Miller and Kevin Costner in Cannes to promote the film. YARA NARDI/REUTERS.
'The Most Precious of Cargoes' Review: Animated Palme d ...
Cannes: This adaptation of a Jean-Claude Grumberg's post-modern fairy tale is cruel, but compelling. The film takes place in a dark, wintry forest on the outskirts of Auschwitz during the height ...
'The Damned' Review: Roberto Minervini's Quiet Civil War Portrait
'The Damned' Review: In His Latest Look at America's Margins, Roberto Minervini Travels Back to the Civil War Reviewed at Wilshire Screening Room, May 6, 2024. In Cannes Film Festival (Un ...

Movie Reviews

Roger Ebert

Now playing

Clint Worthington

Jeanne du Barry

Taking Venice

Tomris Laffly

Nightwatch: Demons Are Forever

Turtles All the Way Down

Modern Times (1972)

Cannes 2024: The Seed of the Sacred Fig, All We Imagine as Light, The Most Precious of Cargoes

Cannes 2024: My Sunshine, Rumours, The Balconettes

Cannes 2024: On Becoming a Guinea Fowl, The Village Next to Paradise, Viet and Nam

Reclamation Through Restoration: Thelma Schoonmaker Talks Michael Powell, Martin Scorsese and Peeping Tom

The Chronicle

Analyzing Charlie Chaplin’s “Modern Times”

Modern Times

Picture 9/10

Extras 9/10

You Might Like

The Great Dictator (Blu-ray)

City Lights (DVD/Blu-ray)

Monsieur Verdoux (Blu-ray)

Log in or sign up for Rotten Tomatoes

Email not verified

Sign up for the Rotten Tomatoes newsletter to get weekly updates on:

Movies / TV

Modern Times Reviews

Or browse by category:

Common Sense Selections for Movies

50 Modern Movies All Kids Should Watch Before They're 12

Best Kids' Shows on Disney+

Best Kids' TV Shows on Netflix

8 Tips for Getting Kids Hooked on Books

50 Books All Kids Should Read Before They're 12

Common Sense Selections for Games

Nintendo Switch Games for Family Fun

Common Sense Selections for Podcasts

Parents' Guide to Podcasts

Social Networking for Teens

Gun-Free Action Game Apps

Reviews for AI Apps and Tools

Parents' Ultimate Guide to YouTube Kids

YouTube Kids Channels for Gamers

Real-Life Heroes on YouTube for Tweens and Teens

Celebrating Black History Month

Movies and TV Shows with Arab Leads

Celebrate Hip-Hop's 50th Anniversary

A Lot or a Little?

Educational Value

Positive Messages

Positive Role Models

Violence & Scariness

Sex, Romance & Nudity

Products & Purchases

Parents Need to Know

Where to Watch

Community Reviews

Not one of the funniest Chaplin, but easily one of his most engaging!

Is It Any Good?

Talk to Your Kids About ...

Movie Details

Did we miss something on diversity?

Suggest an Update

City Lights

Horse Feathers

Mr. Deeds Goes to Town

Modern Times Review

The Definitives

Modern Times

Related Titles

Recent Reviews

Recent Articles

Movie Review – Modern Times

Related articles

Who wrote this?

Rodney Twelftree

47 Facts About The Movie Modern Times

Key Takeaways:

Directed by Charlie Chaplin