Limelight (1952) 1080p YIFY Movie

Limelight (1952) 1080p

Limelight is a movie starring Charles Chaplin, Claire Bloom, and Nigel Bruce. A fading comedian and a suicidally despondent ballet dancer must look to each other to find meaning and hope in their lives.

IMDB: 8.12 Likes

  • Genre: Drama | Music
  • Quality: 1080p
  • Size: 2.63G
  • Resolution: / fps
  • Language: English
  • Run Time: 137
  • IMDB Rating: 8.1/10 
  • MPR: Normal
  • Peers/Seeds: 3 / 2

The Synopsis for Limelight (1952) 1080p

Chaplin's final American film tells the story of a fading music hall comedian's effort to help a despondent ballet dancer learn both to walk and feel confident about life again. The highlight of the film is the classic duet with Chaplin's only real artistic film comedy rival, Buster Keaton.

The Director and Players for Limelight (1952) 1080p

[Role:]Nigel Bruce
[Role:]Buster Keaton
[Role:]Claire Bloom
[Role:Director]Charles Chaplin
[Role:]Charles Chaplin

The Reviews for Limelight (1952) 1080p

Reviewed byJosé Luis Rivera Mendoza (jluis1984)Vote: 9/10/10

Charlie Chaplin was without a doubt one of the most important pioneersof film-making, and through his life he saw the development of thecinema and its progress. "Limelight" is probably not as well known asmost of his silent feature, but it is a very important film tounderstand the vivacious mind of this genius. It is a very personalfilm that showcases Chaplin's feelings about his own brand of comedyand 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 (ClaireBloom) attempted to commit suicide. He decides to take care of her anddiscovers that she is a dancer; knowing that both share a passion forperforming he begins to cheer her up and prepares her to become a greatdancer while at the same time he remembers his past glories.

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

As the last of his "talkies" made in America, "Limelight" is done withall the power Chaplin still had (although the film would be banned asChaplin lost his power due to his political opinions) and it shows. Thestage performances of the characters are sublime and in Calvero'smemories Chaplin resurrects a way of comedy apparently dead by theearly 50s and makes it fresh. The Keaton/Chaplin duo is a classicmoment captured on film. However, "Limelight" is not a comedy in thestrict sense of the word. Those expecting a laugh-riot like "ModernTimes" or "The Great Dictator" will be disappointed, this is a verypersonal melodrama where Chaplin his emotions about his career.

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

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

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

Reviewed byTom May ([email protected])Vote: 7/10/10

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

Following on from 'The Great Dictator' and 'Monsieur Verdoux', Chaplineschews his physical comedy for the most part, preferring to address 'bigthemes' and important issues. 'The Great Dictator', quite obviously tacklesfascism 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 ablacker touch than had hence been the case with Chaplin's films. There is astartling effectiveness to the last reels of that film, with Chaplin's themeof society forming the individual's behaviour being emphatically and eerilyconveyed by his well-spoken character. 'Limelight' focuses on the gold minethat is Chaplin's career and the decline of his sort of comedy. It should begot out of the way first, that considering the possibilities this stirs inthe mind, the result will likely disappoint. But that does not affect myview that this is a very interesting film and broadly a successfulentertainment. It could be argued that 'The Great Dictator' is a finerinsight 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 morethe 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 themusic hall tradition, but we are not convinced that this is quite the sameChaplin. 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, hereChaplin's character talks incessantly and unrepentantly: quite theconversion for the silent clown. Unlike Laurel and Hardy, the adjustment tosound was never made in his original screen persona, so this truly will seema 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 aretimes his dialogue wades in some very interesting waters - such as thatregarding 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 oftragic grandeur towards the close - or more rightly a rather sad grace; aman out of time and out of sympathy with most the world has to offer. Itseems he was lucky to obtain the services of Claire Bloom to play theballerina, Tereza, as she invests a crucial part with genuine feeling andwarm brittleness - a good contrast with Chaplin's slightly wearing charm andghostly drifting through the film. His contribution in bringing Bloom to thescreen is to be appreciated, as she went on to a most impressive career inmany mediums. Indeed, Bloom is rather histrionic at times, but at least itadds some genuine zest to proceedings. That she carries off this role, thatfrom the evidence we see, is so unlikely – a young girl completely in thethrall of a curiously cold and verbose old man – is a testament to herskill. She really conveys more of Chaplin's appeal than is perhaps warrantedby what occurs in the film.

Touches like the visual flashbacks of Neville and Tereza's unspoken romanceduring her voice-over, narrating the story, really help the film. As do theinclusion of performance sequences early on, which are revealed to be inCalvero's subconscious. The second of those rather amused me, seemingatypically 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 widertapestry: the drunken musical recitations by Calvero and a few friends inhis flat, the reminiscing in a bar. It may not be a picture focused on thedetails of London life in the era, but tantalizing glimpses aregiven.

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

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

Rating: - *** ½/*****

Reviewed byPetri Pelkonen ([email protected])Vote: /10

Charles Chaplin plays Calvero, an aging clown who rescues a ballet dancercalled Terry (Claire Bloom) from committing suicide.These two become friendsand Calvero gets more meaning to his life.He desperately tries to make acome back to become the greatest clown again but it's hard to make peoplelaugh anymore.Limelight from 1952 was Charles Chaplin's last Americanfilm.It was a flop but the film won an Academy Award for best score in1972.That year the king of comedy got also a special Oscar for careerachievement.This was Chaplin's most sentimental movie and it also was verytouching.Chaplin is amazing as the aging clown.The man wasn't only a greatcomedian.He was also a terrific actor.It's hard to top his performance inthis movie.Claire Bloom's performance as the ballet dancer is alsobrilliant.Chaplin's son Sydney plays Neville in the movie.There are alsoChaplin's children Victoria, Michael, Josephine, Geraldine and CharlesChaplin Jr. in this film.This is truly a masterpiece.This proves thatChaplin didn't shine only in silent movies.He did that also in talkies.Andthis is one of his best talkies.The dialogue is just delicious in this comedic drama.In the end you can seeanother great comedian from the silent era;Buster Keaton.You can see Chaplinand Keaton clowning together in the end.And that is one great scene.A sceneto remember.The message of Limelight is how wonderful life is.Enjoy it whileyou still can.

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