I won't get into the old "Chaplin Vs. Keaton" debate (though if someone wants to make an Alien Vs. Predator-style film on the topic, please do), but will say that Chaplin's films rely so much on a forced sense of sweetness that they inevitably subvert all the hilarity – though the slapstick is rich and still quite funny, Chaplin was always more concerned with giving his movies a deep emotional core. Except that in the silent movie era, "emotional core" equates virtually without exception to "crying-violin sentimentality." City Lights is sentimental, but the comedy keeps it engaging. Many scenes are absolutely classic, including a raucous and irreverent boxing match that is laugh-out-loud funny, and the ending is about the sweetest moment that will ever be committed to film. The story involves Chaplin's Tramp falling in love with a blind girl (Virginia Cherrill) and doing everything he can to win her heart. The funniest moments occur when Chaplin pals around with a drunken millionaire (Harry Myers, who is hysterical) who always seems to forget entirely about his hobo friend as soon as he sobers up. It's well worth seeing for the priceless sight gags and unbeatable double-takes, but at 90 minutes, it pushes my general tolerance for silent film, especially when it gets into crying-violin mode. I do, however, completely love that the cast of characters simply credits "A Tramp," "An Eccentric Millionaire," and "A Blind Girl." Silent movies were as contrived as current comedies in terms of utilizing stock characters, but at least they admitted it.
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