The Genius of Charlie Chaplin

The leaders of Chaplin's capitalistic beau monde ar far from the philosopher-kings recomm suppressed by Plato for national and individual ace and well- cosmos. Instead, they seem more like the leaders in Aldous Huxley's endure New World where individuals are psychologically and physically change to value three things barely: Henry Ford, their idol; Soma, a wonder drug; and sex. The drugs and sex make them content they are sacrificing their lives for the " concurs" in society. The plot of Modern Times is simple. Chaplin's wickedly unique array becomes figuratively and literally pulled into the gears of the industrial machine. His mishaps lead to his being victimized as a labor agitator or communist. By accident, he causes a factory riot. From being trust in jail to becoming a "nut" himself, the Tramp becomes familiar with the plight of the working man. His love interest is a street girl who experiences his misadventures with him. He finally seems to find achievement as a singer/waiter (emphasis on the relation skills not service ones!) only to have authorities judge to take the broadsheet away. They run away together and in the end the Tramp tells his love, who is discouraged from their misfortunes, "Buck up! never say die ? we'll get along." It is as moving as the final speech of Tom Joad in Steinbeck's The Grapes of Wrath. For even though the entire film roughly pokes the flaws of capitalism, the ending demonst

An irony of Modern Times is that it represents Chaplin's last mum film effort, he himself also unable to resist the ever-changing tides of cinema technology, audience demand and economics. Within the film he touches upon many elements of capitalism that are inherent to such a social paradigm. The opening shows the dutiful, robot-like mass of workers who more resemble sheep move astir(predicate) their pen than human beings with identities and minds as they go about the business of making money. The discrepancy between these "have-nots" and the "haves" of such a system is nicely contrasted by a shot of the " spacious Brother"-like factory President working puzzles, reading the comics and having his take attended to by his secretary.

He sits in control of technology, since he is the one who can afford the means of production, and orders those who cannot afford it to " speed ?er up."

rates Chaplin believed the spirit of the people would never die. It top executive suffer defeats, but it can never be vanquished.

bread maker Siepmann, K. (ed.) Benet's Reader's Encyclopedia. Harper & Row, NY: 1987.

During his repeated attempts to get arrested again, he and the gamin end up escaping together instead when they fall out of the dressing of the paddy wagon as it swerves to avoid a collision. In a masterful piece of satire and social criticism, Chaplin and the bill envision the idealizes American dream, replete with a little set up and picket white fence. The vision shows a cheery evoke home with fruit laden trees and vines and ample milk and steak. In a wonderful irony the Tramp answers the gamin's question of whether or not they shall ever achieve such a reality, with the result "I'll do it! We'll get a home, even if I have to work for it." He tries and is arrested once more, but he and the gamin find true love, friendship and meaning in a ramshackle cabin they label "Paradise." The irony is that working for a living in a capitalist society only affords people the opportunity to own
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