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: 8 / 8

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 byanonymousVote: /10

This was the first and only Chaplin film I have ever seen -- and it wasn'tat all what I was expecting.

I was completely surprised that such a simple film could have so many layersof depth. In fact it kept me thinking days afterwards!

At it's core, I would say this movie is about the love of one's art, and thelove that a couple share.

The Ballerina loves to perform but is impeded by a psychosis that makes herlegs inoperable. I interpret success to be the root of thepsychosis.

The Clown loves to perform but is impeded by his fear of becoming a B orC-list star. He is a legendary comedian and now that he's no longer indemand, he's convinced himself that he has to drink to befunny.

There you have it; a clown afraid of failure and a ballerina afraid ofsuccess. Together they help each other love their art more by removingthose things that impede them.

The best thing about the film is that the obviousness of the plot iscompletely lost in the depth of the film. Chaplin uses such simple andcommon devices to draw the audience into his world. I know it's hard tobelive, but this is a "must-see" movie!

Indulgent, sentimental, but very upliftingReviewed bygezmarVote: 8/10

Chaplin plays Calvero, the washed up music hall clown, who saves the life and attempts to restore the hope of a distraught ballerina, Terry, played by Claire Bloom.

If ever there was a movie to give you hope and lift spirits in dark times, this is it. Calvero's monologues and scenes to help encourage Terry back on her feet(literally) are a perfect remedy for the times (like the ones we live in) when it easy to lose hope. Courage, imagination and a little dough, he tells her is all that is needed to get by.

In Limelight Chaplin also gives great insight into the highs and the devastating lows an of artist's career. Calvero expresses his love\hate relationship towards the theatre, his audience and his almost spent life.

Chaplin, as usual gives a suave, nimble, moving and funny performance and he allows Claire Bloom to totally blossom in the role of Terry.The films is even more special by featuring the only appearance together of Chaplin and Buster Keaton in a brief comedy routine. Their time together on screen is priceless and the routine, very funny

The rest of the considerable supporting cast(including Nigel Bruce and Norman Lloyd) do their best but are bound by Chaplin's constricting direction. As is usually noticeable in a Chaplin talkie, the other actors only mechanically express what their director has instructed them to do.

Even Keaton's character is only referred to as "Calvero's partner" and never even given a name. The brief time Keaton appears on screen Chaplin hardly acknowledges the character's precense. (One can't help feeling the cameo was a condescending piece of charity on Chaplin's part to his more humble screen rival.) Also; has any director ever granted themselves more self-glorifying and self-pitying close ups than Chaplin in this movie?

But all this(and the fact that the movie runs way too long) is totally forgivable as only Chaplin could produce such a giant movie of inspiration and uplifting spirit.

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/*****

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