User reviews

Charlie Chaplin was without a doubt one of the most important pioneers of film-making, and through his life he saw the development of the cinema and its progress. "Limelight" is probably not as well known as most of his silent feature, but it is a very important film to understand the vivacious mind of this genius. It is a very personal film that showcases Chaplin's feelings about his own brand of comedy and how it slowly lost the public's attention as he grew older.

"Limelight" is the story of an old comedian named Calvero (Chaplin), who one morning discovers that his young neighbor Thereza (Claire Bloom) attempted to commit suicide. He decides to take care of her and discovers that she is a dancer; knowing that both share a passion for performing he begins to cheer her up and prepares her to become a great dancer while at the same time he remembers his past glories.

When one watches "Limelight" is impossible not to see the many autobiographical aspects of the plot, as in many ways, Calvero represents how Chaplin feels at the modernization of comedy on stage. Like Chaplin, Calvero also played the character of an optimist tramp who always saw the good side of life, and like Chaplin, Calvero faced many times the urge to modernize his act. It's kind of frightening to think about how much of Calvero's story could be based on Chaplin's real experiences as it is a sharp criticism (for its time) to the way performers are treated by both their managers and their public.

As the last of his "talkies" made in America, "Limelight" is done with all the power Chaplin still had (although the film would be banned as Chaplin lost his power due to his political opinions) and it shows. The stage performances of the characters are sublime and in Calvero's memories Chaplin resurrects a way of comedy apparently dead by the early 50s and makes it fresh. The Keaton/Chaplin duo is a classic moment captured on film. However, "Limelight" is not a comedy in the strict sense of the word. Those expecting a laugh-riot like "Modern Times" or "The Great Dictator" will be disappointed, this is a very personal melodrama where Chaplin his emotions about his career.

The acting is very good, Chaplin may be more remembered for his parts in silent films, but he delivers his lines with ease and ability. His physical comedy is superb and his overall performance is memorable (mainly because it feels as if he was playing himself). Claire Bloom is at times a bit too melodramatic for the movie's sake, but for the most part is very effective and makes a good counterpart to Chaplin's Calvero. Among the supporting cast Nigel Bruce as always chews the scenery and Buster Keaton is simply fabulous in his small yet classic role.

Probably "Limelight"'s main problem is its excess of melodrama, and its at times, excessively preachy attitude. The fact that is not a comedy may turn off people not used to Chaplin's more serious side, as while the movie has its fair share of laughs, it is obvious that Chaplin wanted to be recognized as more than a mere clown. The movie's slow pace and rhythm also put it closer to the melodrama of the 40s than to the image we are all used to see when we think of Chaplin.

Despite all this, "Limelight" stands as a testament of Chaplin's enormous talent, and while not very well-known, it is one of the finest films he ever did. Fans of his work will definitely enjoy this film and fans of Keaton will appreciate his small yet terrific scene. 9/10

Charlie Chaplin is one of the undisputed masters of the cinema. He was one of the funniest actors of the cinema, and he was also one of the greatest directors. Of course, the films that he is most famous for are his silent comedies, especially The Gold Rush, City Lights, and Modern Times. The latter two were the product of Chaplin's stubborn clinging to the format and conventions of the silent cinema, though everyone else had gone to sound. This stubbornness was certainly sound. His contemporaries such as Buster Keaton and Harold Lloyd lost popularity when they moved to sound. Chaplin's last two silent films were popular and made a lot of money. Audiences may have craved sound, but they craved Chaplin, too, and did not disdain his silence. He was one of the silent artists who thought that they were just achieving the peak of their medium when sound came in. He proved himself right, since City Lights (1931) and Modern Times (1936) are probably his two best films, and both are two of the best films ever made.

Finally, in 1940, Chaplin directed and starred in his first talkie, The Great Dictator. Three more followed, Monsieur Verdoux, then Limelight, then King of New York, which happens to be the only one of these four I have not seen. The Great Dictator and Monsieur Verdoux were both good films in their own way, but perhaps Chaplin's in depth political commentary in these films detracted from them. The type of comedy that you find in his silent films did not mix well with this social commentary. The simple juxtapositions of the worlds of the poor and the rich in City Lights and Modern Times were far more powerful than what his first two talkies had to offer.

Then came Limelight, one of the most bittersweet films ever made. It is not perfect, but it achieves a grand melodramatic beauty that few films have ever even approached. The story is simple: a washed-up, old vaudvillian rescues a young ballet dancer from suicide. He takes care of her until she is healthy again, and even restores her confidence. The story may be simple, but the character dynamics are very complex. As the dancer, Theresa, is recovering, Calvero is not only rebuilding her confidence, but also his own. Theresa, because of his kindness towards her, finally believes she has fallen in love with him, even going so far as proposing marriage to him. Whether she actually loves him or not, and Calvero strongly asserts that she shouldn't and doesn't, these two characters have a constantly evolving relationship that does not end until the credits role. It is utterly fascinating, captivating, and dramatic.

There are a couple of problems, and though they're small, they deserve attention. Perhaps the biggest problem is that Claire Bloom is quite guilty of overacting. Her line delivery is bizarre and overdramatic. This isn't a big deal, since you ought to be keenly aware that the film takes place in the world of melodrama, and is thus exaggerated. Another thing that irked me is Buster Keaton's role. It is little more than a cameo. In fact, his character doesn't even have a name in the credits. This is truly disappointing, seeing that he, although Chaplin may have had the most heart, was the all-around funniest silent comedian.

Most ordinary people fall into a role and a persona in their lives, and tend to not veer very far from it if it provides for them. Perhaps, due to extreme situations, they may find it necessary to reinvent themselves once or twice and rise to the occasion or fall into dissolution.

An artist like Chaplain had to reinvent himself over and over again over four decades, particularly in a medium that was changing every few years. That's probably why he had so many failed marriages with younger woman; he had to feel like a "player" to keep the flow going and fight back the doubt and anxiety (and the terror of becoming irrelevant) that inevitably begins to haunt creative men in their twilight years. Don't underestimate the power of sex magic!

Limelight is a film about those demons, and the immense courage (and yes, the love of a much younger woman, too, doesn't hurt), that is required to triumph over them. Still, everyone knows there is one specter that no man can outrun -- Death. Chaplain masks this existential dimension in layers of sentimental melodrama which you will have to decide for yourself is effective, but I think he does this intentionally to smuggle in some deep and darker themes that filmmakers like Bergman would become famous for continually exploring masterfully.

I found myself going back and forth with Limelight; there are times when the melodrama overpowers the film, and the pedestrian cinematography doesn't help matters. A few times I felt like I was watching the old Abbot and Costello TV show, particularly the apartment scenes. However, Chaplain is such an immense presence you can't help be engaged and encouraged to keep watching because you want so much for his character Calvero to triumph. His co-star, Claire Bloom, is quite effective, too, and she has several "looks" in this film to contrast and mirror the ongoing struggle the old comedian in having internally.

Getting on in years myself, and feeling washed up and without hope and purpose, Calvero's plight and faltering desire to once again command the Limelight was quite cathartic. I was amazed by his final performance with Keaton; when Calvero starts rocking that violin like Eddie Van Halen in his prime, I was in a state of sublime fascination. Here was a true artist giving everything up for his audience, feeling the peak thrill of having the audience at his command once again for a few fleeting moments; a thrill that, tragically, he will pay dearly for.

We can only hope that we, too, can earn such an exalted death as Calvero's. Perhaps that is Chaplain's hidden message in this film; that life is, in the final analysis, about striving for a death that ennobles those you leave behind.

A washed-up, formerly-famous Music Hall comic, Charlie Chaplin, saves a suicidal ballerina, Claire Bloom. In the process of giving her the hope to move on and succeed, he regains the confidence to return to the stage himself.

"Limelight" is a moving and autobiographical film that works as both a bittersweet drama and a mirror into the soul of one of the world's greatest film makers. I sometimes wondered if my affection for this film is based on my knowledge of Chaplin's life and career, and the parallels between "Limelight" and people and incidents in his own life. When I watch this film I see an artist standing naked at a crossroads before his audience, unsure where to go and what to do. However, I know the film does not require an advanced degree in Chaplin to enjoy. My wife, who could probably do little more than identify the Tramp in a lineup before marrying me, loved this film before she met me. I have also had the good fortune to see the film in a theater in New York and watch it work its wonders on an audience. Stylistically, it might be dated, but the magic lingers.

"Limelight" is best viewed as a drama with comedy rather than a comedy with drama. Outwardly, it is the simple story of a vulnerable youth who mistakes her gratitude for love, and an older man wise enough to know the difference. But it's more than that too. It's about an artist's nature, and the addictive power of applause. The Chaplin character, Calvero, knows how to make people laugh, but feels he has lost the ability to do so. He realizes he is at the end of his career, but he still hungers for one final moment in the limelight. The film is talky and philosophical, and, yes, a little pompous and pretentious at times too. It's almost as if Chaplin is trying to impart through words the simple joys and mystery of life he was once able to express effortlessly through simple slapstick alone. Does this flood of words mean Chaplin has lost his skills as a film maker? No. He still has the power to move.

"Limelight" is Chaplin's final masterpiece. It is one of my favorites. I prefer to think of it as his last film. Should this be your first Chaplin film? No. Start with films like "The Gold Rush," "City Lights," and "The Great Dictator." Come to know the comedian before you get to know the man.

Chaplin could do anything as well or better than anyone else in movies: acting, writing, directing, composing, producing, editing, even choreographing. He was world renown as a comedian, yet has placed some of the most poignant images on film that ever were. He was, even more than the great Orson Welles, a sort of one man band.

He was as successful worldwide as anyone ever was in movies. Somehow in all this, he got the idea that he had something worthwhile to say about life and art. Which he did with this film.. and I for one am extremely grateful.

The subjects of alcoholism... depression... aging... the fickle relationships of audiences and performers... these are all covered in a film that manages to fit in philosophical dialog, pantomime, dancing, and music. The multiple showings of the same comedy sequence (in a dream, in front of an unappreciative audience, in front of a wildly appreciative audience) gets one to thinking about the lemming-like nature of people in a way that someone like Chaplin would have had almost unique insight into.

It may take a while to become accustomed to the odd pacing and cadence of a Chaplin movie; once you are, you find yourself in the middle of an artistic experience like no other.

The music in this film is unusually haunting and deserving of the Academy award it belatedly received. 10 out of 10.

All the terrible facts in his life during the 1940s made Chaplin realize he was a lucky artist, having for almost 3 decades both critics recognition as well as worldwide fame. His personal problems originated by his marriage with young Oona, added to the hate generated in the United States from the brilliant, anti-capitalism movie "Monsieur Verdoux" left him in a very dramatic situation, that made him look back at the past, only to realize how the art he made better was changing... characters, themes, directors and actors were now different. His eternal black and white pantomime was at the moment "useless", and colored motion pictures were appearing...

"Limelight" is the bittersweet movie that narrates the impossible love story between Calvero, the fading comedian, and Terry, the suicidal Dancer. Perhaps his final masterpiece, Limelight earns recognition and admiration for its philosophical thoughts about life, love, and the mix of comedy and drama. Considered as his will to artists and his homage to his three loves: London, arts and women, the movie reflects Chaplin's worries about his audience, his marriage, society. Almost every aspect of Chaplin's life is represented in this motion picture. Just the tittle evokes his theatrical debut, in the late XIXth Century, Calvero is just a variation of Chaplin's eternal character, The Little Tramp, the story of Therry is the same as his mother (her sister also prostituted to make a living), and it goes on...

There will be no movie that'll make me laugh and cry as much as Limelight. I consider it as the last Chaplin film. Enjoy the gag between Chaplin and Buster Keaton, long-time rival in the silent-film era, and the marvelous original score composed by Chaplin himself.

Limelight is a perfect, brilliant, touching movie that'll make you know the person that hid 30 years under the Little Tramp character: a great artist and unique man called Charles Spencer Chaplin.

It's painful to watch your idol die but it's even more hurtful to see him getting old and losing everything you used to love about him and slowly falling lower and lower in your eyes, fading away. But this is not the case with Charles Chaplin because his genius was always on the rise.

"Limelight" tells the story of Calvero, a vaudeville performer and a comedian struggling to find work long after his glory days were over. He has lost hope and drowns himself in alcohol but one day he meets a young girl who has lost hope too. Sometimes destiny brings people into our lives at just the right time to show us how much are our lives worth and lead us to the right path.

Although Charles himself denied all of the similarities with his persona but while watching you just can't help feeling how much Calvero and Chaplin are alike. "Limelight" is a great satire on the world of show business and how fleeing is the fame - no wonder the movie in a way predicted Charles' own fate. It was a financial failure in the United States and soon after the premiere Chaplin left the country; only 20 years later, in 1972, he was awarded with an Oscar for this movie and regained his legendary status he deserved way back then but was not able to obtain because of narrow-mindedness of some people.

"Limelight" was the debut for young actors Claire Bloom and Sydney Chaplin (Charles' second son) and featured Buster Keaton in his only on-screen performance with Chaplin which was one of many highlights of this movie. Charles expresses his wisdom through Calvero who speaks it, assuring us of one beautiful little thing called life: that it is a wonder by its nature and wonders aren't supposed to go down the drain easily. We should fight for it, feel it, live every minute of it, enjoy it, use it any way we want to accomplish anything we want and it's never too late to realize that our lives, even in their most unpleasant moments, are worth living for. As they say, all the world's a stage and we ought to play on it until the end.

Charles Chaplin stars as Calvero, an alcoholic, washed-up music hall comedian who saves a rooming house neighbor from committing suicide when he passes by her door and smells gas. The neighbor, young ballet dancer Thereza (Claire Bloom), attempted suicide because she believes that she will never walk and therefore never dance again. She stays with Calvero while she recuperates, and the old comic starts to improve himself as he sets out to get Thereza the chance to prove herself as a world-class dancer. Thereza wants to marry Calvero in spite of their large age difference (I won't go into how art is imitating life here), but he feels that a young composer (Sydney Earl Chaplin) would be a better match. Complications ensue.

Chaplin's last starring role came in this bittersweet drama, a massive hit everywhere else in the world, but barely released in the U. S. due to Chaplin being labeled a "dangerous leftist". I had the same opinion of this that I did with many of his silent movies: it's technically proficient, but the sentimentality is a bit too thick, and it often seems blatantly phony, and not earned by what has been shown on screen. I've grown to like many of Chaplin's films on repeat viewings, and even love a couple of them, but I've always preferred the work of Buster Keaton. It was nice seeing the two on screen together, but it wasn't for long enough. The movie eventually received an Oscar-qualifying premiere in L. A. twenty years later, and thus bizarrely won the 1972 Oscar for Best Score (Charles Chaplin, Ray Rasch, and Larry Russell).

I have very little to fault Limelight. Is it Charlie Chaplin's best movie? Probably not, but it is very beautiful as a film. While The Kid gets my vote as Chaplin's most touching film, Limelight is every bit its equal in poignancy.

Limelight is exquisitely filmed, with the cinematography especially truly beautiful. The music is also gorgeous, the dialogue is beautifully written and the story is wonderful and is one of the main reasons why the film is as touching as it is. The acting is great, Claire Bloom I agree occasionally overdoes it but she is mostly very solid as the young dancer, while Chaplin handles the physical comedy faultlessly and manages the subtleties just as effectively. Nigel Bruce is terrific, and Buster Keaton is great in his small role. Seeing as five of his children featured here, Limelight is seemingly very personal for Chaplin and he puts a lot into this film and it shows.

Overall, beautiful and reflective. 9/10 Bethany Cox

Even for a fellow well-versed in Chaplin's sound films, 'Limelight' proved an odd viewing experience upon my perusal of it.

Following on from 'The Great Dictator' and 'Monsieur Verdoux', Chaplin eschews his physical comedy for the most part, preferring to address 'big themes' and important issues. 'The Great Dictator', quite obviously tackles fascism and the demagoguery of a dictator: indeed pretty pertinent in 1940. 'Verdoux' is an interesting one-off in its inherent darkness; the material, concerning a mannered serial killer, is treated with more sobriety and a blacker touch than had hence been the case with Chaplin's films. There is a startling effectiveness to the last reels of that film, with Chaplin's theme of society forming the individual's behaviour being emphatically and eerily conveyed by his well-spoken character. 'Limelight' focuses on the gold mine that is Chaplin's career and the decline of his sort of comedy. It should be got out of the way first, that considering the possibilities this stirs in the mind, the result will likely disappoint. But that does not affect my view that this is a very interesting film and broadly a successful entertainment. It could be argued that 'The Great Dictator' is a finer insight into Chaplin's art; the masterful pantomime is more vividly on show, and is Hitler is not especially the evil figure we know him to be, but more the manipulative, balletic Chaplin, commanding our attention.

'Limelight' seems not to succeed in being a summation of Chaplin's career; perhaps as it distinctly lacks the raison d'être of his visual comedy. Okay, perhaps Calvero is a character based partly on other faded stars from the music hall tradition, but we are not convinced that this is quite the same Chaplin. Of course, this is bound to be the case: this is sound cinema, nearly twenty years after the tramp's final sunset-bound trot. But, here Chaplin's character talks incessantly and unrepentantly: quite the conversion for the silent clown. Unlike Laurel and Hardy, the adjustment to sound was never made in his original screen persona, so this truly will seem a different Chaplin to viewers. He pontificates in a somewhat lofty, generally admirable fashion; but it is the speech of a mannered, delicate, sentimental old English gentleman, and not a clown or philosopher. There are times his dialogue wades in some very interesting waters - such as that regarding his views on audiences and the rigors of performance - but often, too little of worth is said with too many words, in an overweening, self-satisfied manner.

Where the film really succeeds is in the way Chaplin does take on a sort of tragic grandeur towards the close - or more rightly a rather sad grace; a man out of time and out of sympathy with most the world has to offer. It seems he was lucky to obtain the services of Claire Bloom to play the ballerina, Tereza, as she invests a crucial part with genuine feeling and warm brittleness - a good contrast with Chaplin's slightly wearing charm and ghostly drifting through the film. His contribution in bringing Bloom to the screen is to be appreciated, as she went on to a most impressive career in many mediums. Indeed, Bloom is rather histrionic at times, but at least it adds some genuine zest to proceedings. That she carries off this role, that from the evidence we see, is so unlikely – a young girl completely in the thrall of a curiously cold and verbose old man – is a testament to her skill. She really conveys more of Chaplin's appeal than is perhaps warranted by what occurs in the film.

Touches like the visual flashbacks of Neville and Tereza's unspoken romance during her voice-over, narrating the story, really help the film. As do the inclusion of performance sequences early on, which are revealed to be in Calvero's subconscious. The second of those rather amused me, seeming atypically Chaplin in its bantering wordplay and slightly otherworldly air. The performing fleas routine is hardly vintage Chaplin (but pray remember, Calvero is a purely music hall performer, of pre-WW1 days) in its invention, but it is very precisely performed. I loved the little bits implying a wider tapestry: the drunken musical recitations by Calvero and a few friends in his flat, the reminiscing in a bar. It may not be a picture focused on the details of London life in the era, but tantalizing glimpses are given.

It is charming to see faces of old Hollywood, albeit briefly in this picture, that is so dominated by Chaplin's self-regard. Nigel Bruce is a splendid presence as – you've guessed it – a doddering, hapless old buffer with heart certainly in the desired place and dander constantly up. Buster Keaton adds some much needed comedic timing and experience to the film with his late appearance, performing with Chaplin in a decent final routine. He really outshines Chaplin, and it is a shame more isn't seen of his droll presence, far more tangible and concrete than the curiously elusive Chaplin is here.

Whatever one's thoughts on the film's comedy, it must be recognized that this is more of a winsome, self-absorbed melodrama than it is anything like a comedy. That it works is surely down to the strange historical interest of the film and its undeniable melancholic resonance. This is a Chaplin at the end of his tether, seemingly unwilling or unable to go back to being a comedian. The film is sad, invested with a grand decay and propped up by perhaps a more ‘real' Chaplin than was ever seen in his days of silence. It simply should not work – it is a portrait over-egged to some degree - but this is somehow remarkably compelling stuff. The picture all the more mourns what isn't there.

Rating: - *** ½/*****

I love Charlie Chaplin's work and style, but this movie is just so self-indulgent that it ceases to be anything like art. I have no clue what these critics are talking about when they claim this is some grand statement on art, death, and youth. It's more like a monument to Chaplin's ego, with Calvero as his self-insert protagonist. The scenes where Claire Bloom's character praises him for being "funny," "sensitive," and "more than a comedian" just feel like such self-congratulatory pandering.

The story has no structure to speak of, plodding along and giving us ample time to be lectured by Chaplin on consciousness and life. The comedic scenes are dismal and unfunny. The dramatic scenes flop. The supporting actors don't really get to establish their characters well, because Chaplin is pretty much convinced that this is going to be the Calvero hour. No other character need be developed when HE is supposed to be the whole show.

I wanted to love this movie. I really did. No one blends comedy, humanism, and tragedy quite like Chaplin, and when he gets it right (which he does most of the time), you get pure cinematic magic. But this is just a mess.

An unpopular opinion, yes, but for now, I'm holding to it.

Haunting and unforgettable piece from Charles Chaplin that was nearly lost in the American cinema all together. It played in very few cities within the U.S. in 1952 and was never shown in Los Angeles due to the suspicion that the House of Un-American Acts Committee had concerning Chaplin (making no sense to me as Chaplin, who was British, was the polar opposite of a Communist from all indications). The film disappeared from U.S. soil and did not re-surface until some 20 years later in 1972 and Chaplin actually won an Oscar, with fellow scorers Raymond Rasch and Larry Russell, for this movie's original dramatic score (this was the only competitive Oscar Chaplin ever won). Chaplin stars as a washed-up vaudeville performer. He is now an elderly man (in his 60s when the film was made) and the spotlight is gone forever, even though he still secretly yearns for it. Chaplin discovers a very young ballet dancer (Claire Bloom) who has attempted suicide because she cannot handle being a performer. Naturally Chaplin cannot believe that this young, beautiful and talented woman would rather take her life than be a ballet performer (the fact that Chaplin yearns for her youth and the ability to be an entertainer again makes him bound and determined to get her back on her feet). He tries with all his might to get her performance-ready again, all the while he is also trying to resurrect the career that he lost long ago. Chaplin has a dream of a stunning performance he has on the stage, but when his act ends there is no one there to acknowledge him (one of, if not the saddest sequences I have ever seen on film). Soon it becomes obvious that Chaplin's time is running out and his desperation to have that one last piece of action engulfs his mind, body, heart and soul. "Limelight" is one of the most dramatic and intense pictures I have ever encountered. Chaplin's life and career had changed dramatically by 1952. The Little Tramp was no more, all movies had sound, some films were being made in color and the subject matter of motion pictures was slowly starting to change. In many ways Chaplin was trying to show the viewing public his life in celluloid form and "Limelight" would be the vehicle used. This is a stunning work that once again shows the humanity and overall sensitivity that Chaplin had with his movies. Chaplin's long-time rival in real-life (Buster Keaton) even shows up late and acts as a partner in the duo's stage routine. The pairing is usually the most memorable part of this production to most, but the story and the deep emotional part that Chaplin plays are the things that make "Limelight" quite possibly Chaplin's greatest cinematic masterpiece. 5 stars out of 5.

In 1914, in London, the former successful and presently decadent and alcoholic clown Calvero (Charles Chaplin) smells gas in the building where he lives and breaks in an apartment. He finds the suicidal Thereza 'Terry' Ambrose (Claire Bloom) laying down on her bed and he brings a doctor that saves her. They do not report to the police and Calvero nurses her in his apartment.

He leans that Terry was a ballet dancer that had a problem in her legs that are paralyzed. However, the doctor tells to Calvero that she has not a physical, but actually a psychological problem with her legs. He emotionally supports her and she recovers her health and becomes a successful ballerina. Meanwhile Calvero is also affected by Terry and quits drinking. Calvero tries to rebuild his career in the show business and while Terry falls in love with him but age must pass as youth enters.

"Limelight" is one of the most melancholic films that I have ever seen. I saw this movie for the first time when I was very young but watching "Limelight" older and older, I realized how depressive this tragic story is. The haunting music score was awarded with the Oscar of Best Music, Original Dramatic Score. My vote is nine.

Title (Brazil): "Luzes da Ribalta" ("Limelight")

This past week, I've been on a Charlie Chaplin kick. I watched "Great Dictator"(which is marvelous) and "Modern Times"(Also a classic). This morning, I watched "Limelight". I knew that it was not going to be a ha ha laugh riot all the way through, but I found myself chuckling several times in the movie. This movie has an excellent storyline about an aging performer who knows he is not marketable anymore but wants one more chance to shine. He meets a ballet dancer, played wonderfully by Claire Bloom, who almost commits suicide before beings rescued by Chaplin's Calvero character. Throughout the 2 1/2 hours, they teach other to fight their demons and do what they love doing. This movie was so moving to me. I ended up crying the majority of the movie. This shows that Chaplin is a genius. You can watch his movies and laugh, cry, think. But at the same time, it's just genius work. Sadly, this was Chaplin's last film success in America. What a shame. Great talent. The Chaplin/Keaton sequence is the highlight of the whole movie. 2 great comedy geniuses working for one time only. Perfect. 10 out of 10. Go see "Limelight" and see for yourself.

"Limelight" is not Charlie Chaplin's last film, but definitely the one that served as his farewell. It's a bittersweet, tremendously old-fashioned film that could have been as well a piece of theatre, but that despite his obvious flaws and schmaltzy philosophy deserves a place in every film lover's library, especially if considered in relation with Charlie Chaplin's persona.

Faded comedian Calvero seems to be inspired by Chaplin's father, an artist who also lost his audience due to alcohol abuse. It's not a coincidence that the Edwardian London setting corresponds with the places and theatres Chaplin used to hang out in his childhood. Calvero also shares more than one thing in common with 63 years old Chaplin, ostracized by Hollywood for his political views and left behind by his audience as his humor had become outmoded.

Calvero is a self-destructive man who had hit rock bottom countless times; however, he is the one to inspire optimism for the future to the young generation, represented by the hopeless and suicidal ballerina Terry. The relationship between the two seems to mirror Chaplin's taste for much younger women, but as the film goes on, he seems to be self-aware that it's time to hand over the rein to the next generation of men and artists (Neville).

Honestly, I would have loved a more realistic ending, as Calvero's sudden triumphant return felt a bit unnatural, but I guess that a truly tragic outcome would not serve the film's philosophy. There is also a narcissistic tendency to glorify Chaplin's persona and art life that personally made him feel even more distant. His routines drag on for too long, and don't serve the plot much if not to show that Calvero is, in fact, not that funny anymore.

All in all, "Limelight" is still a classic worth watching, but I am not sure I would have appreciated it as much if it was directed and performed by another comedian. Still impressive how he always manages to direct, write, perform, and score everything by himself.

Never heard Chaplin's voice before. What a revelation. Shame he did not do much later in his life. He can pull a dramatic and serious performance as well as a comedic one. Claire Bloom is just lovely.

With Limelight, for one last, brief moment, it's like old times even as the new age begins and Chaplin relinquishes his crown to the younger generations.. Yes it's worth a watch to see Chaplin and Keaton in one of few on-screen appearances together. James Welch Henderson, Arkansas 3/21/2021

Charlie Chaplin moves into the 1950s with an unusual drama about an alcoholic old timer (Chaplin as Calvero) and suicidal young ballerina (Claire Bloom as Terry). The comedian "Calvero" is drunk as the film opens, and obviously in the twilight of his career. He rescues Ms. Bloom from a suicide attempt and helps her to get back on her feet (so to speak).

The film seems almost like nothing, but becomes quite substantial. It's a very thoughtful film -- obviously, Chaplin in his 60s has lost none of his film-making skills: the difference is that you come to Chaplin on His terms. No longer interested (capable?) of producing massive audience "hits", Chaplin produces an indulgent, sentimental "Limelight". It's an excellent work, but very hard to digest.

Some impressions: Comedy is ballet. Life is ballet. Young needs old. Old needs young. Comics need a drug. Perhaps the film needs a single focus? I found the sequences where Chaplin is told by the "suits" he's washed-up to be most memorable; along with the small scene where a comic goes in for Chaplin's job because he's heard the old clown is awful. The stuff with Buster Keaton is very nice, too, and makes you wish the would have done a full film together. I believe Keaton's role makes the film deliberately less autobiographical than many would believe, but you can never be sure…

Chaplin is interesting to watch always; when he seems to be doing nothing, he's not.

******** Limelight (1952) Charles Chaplin ~ Charlie Chaplin, Claire Bloom, Buster Keaton

A tippling ex-vaudeville performer in 1914 London takes in a suicidal young woman who longs to be a ballerina. Vanity project from writer-director-producer-star Charles Chaplin (who also composed the music score and actually won a belated Oscar for this in 1972, due to eligibility requirements!). The film itself is sadly unsuccessful: hammy, sentiment-steeped, yet still unmoving, it uncomfortably catches Chaplin in a self-reverential mood (he's constantly playing to the camera). Claire Bloom is lovely in support, but Buster Keaton is left with little to do. A maudlin and rather sickly piece of fluff. *1/2 from ****