[3 Citylights 2012 Tamil Movie English Subtitles Free Download
Julieann Rohde
Charlie Chaplin's "City Lights" (1931) came near the beginning of two eras, the Depression and the talkies, and had fun with both. But it didn't depend upon topical realities for its humor. Chaplin's films age so well, I think, because his situations grow out of basic human hungers such as lust, greed, avarice. Those are the hungers on the other side, of course -- the side inhabited by policemen, millionaires, mayors and boxing promoters. All Charlie sends up against them Is his little Tramp, eternally hopeful, concemed only with escaping from the dilemma of the moment.
"City Lights" was Chaplin's first production after talking movies were introduced. He avoided sound, wisely as it turns out, since the awkward sound equipment of the early days would have trapped his films in sound stages and sets. Chaplin said at the time (and has been endlessly quoted as saying ever since) that comedy is in long shot, tragedy in close-up. He was right, as a moment's thought will reveal, and synchronized sound would have made it necessary for the Tramp to spend too much of his time too close to the camera.
3 Citylights 2012 tamil movie english subtitles free download
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The few sounds he does use in "City Lights" underline the silent comedy without distracting us. In the famous opening scene when the mayor unveils a civic statue to find Charlie sleeping in its arms, the mayor's speech is represented as a series of unintelligible squawks and squeaks. It sounds more speech-like, somehow, than real words would. There's also the sequence after Charlie swallows the whistle and inadvertently stops a concert, hails a cab and surrounds himself with dogs.
Apart from these two scenes (the first no doubt intended to make his feelings about sound unmistakable), the film is silent, except for the original Chaplin musical score. There is a bare minimum of subtitles, too; everything is made perfectly clear by the genius of Chaplin's pantomime.
The story involves some of the Tramp's most familiar adventures. He falls in love with a blind flower-girl, is taken in tow by a drunken millionaire, does a shift as a municipal manure-sweeper (gazing in despair at a parade of horses followed by an elephant) and finally wins the blind girl's gratitude after a term in jail.
"City Lights" includes one of the funniest sporting events ever filmed, the immortal boxing scene in which Charlie's footwork bedazzles both the referee and his opponent. It also includes a great deal of sentiment, which some of the 1931 critics found excessive. I don't think so. Chaplin goes only so far with sentiment, then makes his getaway with a gag.
Sometimes the sentiment and the gag grow so organically out of the situation that you don't know whether to laugh or not. That's the case in the opening sequence with the blind flower-girl. Charlie buys a flower, leaves, tiptoes around the corner, positions himself beside a water tap and gazes at her adoringly. She makes her way to the tap, fills her water can, sloshes it around and throws the water into Charlie's face. His reaction to this misadventure is so complex that comedy hardly seems the word for it.
Note: "City Lights" is the second entry in the Carnegie Theater's seven-part Chaplin Festival, part of a worldwide tribute to Chaplin that includes a special Academy Award on April 10. The Chicago response to the festival has been amazingly strong, even acknowledging that these perfectly preserved Chaplin prints haven't been released in years and won't be shown on television. With a measure of awe in his voice, Oscar A. Brotman, the Carnegie's owner, was telling me the other day that he had "a few hundred" Chaplin season tickets printed up, offering seven admissions for $10. "1 thought that would be enough," he said "I had to print more. You know how many more? SO far, we've sold 10,000 season tickets."
September 16 The Secret in Their Eyes (El secreto de sus ojos) (Argentina/Spain 2009) 129 min.Spanish with English subtitles [IMAGE]This is themasterpiece that somehow trumped odds-on-favourite The WhiteRibbon for last year's Best Foreign Film Oscar. That says alot, since Heneke's film is one of the most original to haveemerged in years. But seeing SECRET IN THEIR EYES you willunderstand why it challenged the rest of the pack. Here we have twoparallel stories rooted in the past but bearing down heavily on thepresent. One involves a brutal rape and murder that took place in theextreme right-wing regime of the Argentina of the 'seventies. Theother narrative line involves the two lawyers who first met duringthe case, Benjamn Espsito and Irene MenndezHastings. When they first meet about the murder, it is clear thatIrene has the upper-class hand over the self-conscious, working-classBenjamin. Their curious and potent relationship, interrupted fordecades after the case was ostensibly closed, is the guts and dramaof the picture. But the film is in every way an incisive looking backat a dark and dirty period of Argentine history, as it explores theeffects of such history on memory, on crime and punishment, and onthe personal lives of its citizens. The acting is brilliant, thesubject universal and inspiring. Amazingly, some nations are stillmaking movies like this.
September 23 Ajami *CANCELLED* (Germany, Israel 2009) 120 min.Arabic and Hebrew with English subtitles [IMAGE]Itis tempting to say this film will be timely twenty years ago, but insome sense we hope not. AJAMI competed with SECRET IN THEIREYES for Best Foreign Film, and so it rests in a noble field ofaccomplishments. Set in the coastal town of Jaffa, Israel, the filmcaptures the challenging location of a Muslim community plunked rightin the heart of Tel Aviv. Famously crime-ridden and uneasy, Jaffa isboth the real site and the perfect metaphor for a film about theregion and its interminable conflict. Co-written and directed by aPalestinian and an Israeli, AJAMI plots the incrementaleffects of hatred. What begins with a murder evolves into revenge anda cycle of violence, paranoia, and suspicion, all the familiarelements of the Middle East situation. When people invoke religion orfamily blood to justify their violent actions it is really hard toimagine peaceful resolutions. Obviously, it takes a Palestinian andan Israeli to stop a village from its murderous destiny. At least thefilm triumphs by example, if not the region. Netanhayu, Abbas: areyou watching?
September 30 Last Train Home (Canada, China, UK 2009) 85 min.Mandarin with English subtitles [IMAGE]Thisriveting documentary startles the eye from the opening frames.Indeed, filmmaker Fan never relieves his appetite for the spectacle,in this case the sight of Chinese workerswaiting to catch trains for their annual pilgrimage home for the NewYear. More than 130 million of them will ultimately make the journey.The title of the film speaks to the dominant mode of transport, achilling reminder that you wouldn't want to miss that last trainhome, indeed. Made by the producers of Upthe Yangtze, THE LAST TRAIN HOME focuses on oneparticular family set against the vast backdrop of a rapidly changingChina. Everything is swirling in a frenzy of capitalist growth, andthe effects on families, on history, memory and community are soradical you need a documentary filmmaker to show it. Multi-awardwinning, this film is bound for glory.
October 7 Please Give (USA 2010) 90 min. [IMAGE]We lovea juicy New York story, and one that stars the indomitable CatherineKeener is a double bonus. Spurring the drama in this most Manhattanof tales is an elderly female apartment dweller, Mrs. Portman, whosewell-meaning, upper middle-class neighbours (Keener and Oliver Platt)are tapping their fingers, waiting for the older woman to occupy somerent-free space in heaven. They have their eyes fixed on herapartment space, while Mrs. Portman's granddaughters get involvedin these unfolding neighbourly and unneighbourly events. As acted bythe A-list talents of Rebecca Hall and Amanda Peet, the charactersare strong, complex, and as stubborn as New York realtors. PLEASEGIVE is saucy and sharp, and particularly interested in the livesof girls and women and how they live in one of the most competitivecities in the world. Never condescending to her characters, directorHolofcener is nonetheless interested in the personal effects ofcapitalism: can one live an ethical life and own highly valuedproperty at a great NY address? Many would like to try it out.
October 14 Kisses (Ireland 2008) 72 min. [IMAGE]Setin Dublin and featuring two youngsters who live next to each other,KISSES dares to be a potent mixture of tones and rhythms.Director Daly is intent on showing us a side of Dublin that touristswould never glimpse, a side creepily emerging from under the lastdecade's hyper-inflated economy, a side blowin' in the winds oflate capitalism. Kylie and Dylan are babes in the urban jungle, forsure. Escaping their dysfunctional households they light out for theterritory of the night, vulnerable to the human monsters prowling thestreets. Resourceful and plucky, they somehow endure a menacingDublin with a spirited optimism. This is no easy feat, but the twocharming actors are superb at conveying the complexity of childhoodand the intense discovery of life's darkest secrets. Appropriately,the music of Dylan's namesake sounds through the film like awelcoming commentary, especially in the jingle jangle morning.
October 21 Mao's Last Dancer (Australia 2009) 117 min.English and Mandarin [IMAGE]Based on thetrue story of a young Chinese male dancer who was understandablyseduced by the club beat of disco, MAO'S LAST DANCERanimates the hugely popular autobiography of Li Cunxin. PopularAustralian director Beresford has a lot of fun taking us back to thebell-bottomed 'eighties, when all of this groovy crazinesshappened. That said, Li's defection from Communism to Capitalismwas no laughing matter, and the film nimbly tracks the emotionaltorment suffered by the dancer. Played masterfully by Chi Cho, therole is quite the leap of talent, drawing as it does on a wide rangeof responses, not to mention an astonishing set of pirouettes andswan dives. Watch for the brilliant performance by Canada's BruceGreenwood (Star Trek) as Li's mentor Ben Stevenson. We lovethat guy. He can jet his way through any plot.
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