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and other bits direct from Chaplin. Yet, despite the borrowings and its lack of a strong character lead "A Nous la Liberte" is the greater film — one of the wittiest and most brilliant ever produced. Perhaps because of Clair's attitude, Tobis dropped its plagiarism suit.
The opening scene of "Modern Times" shows sheep rushing through a gate, and is immediately followed by shots of workers rushing out of the subway on their way to work. Among the many is Charlie who works in a huge factory, his task to tighten bolt after bolt on an endless conveyor belt. With two monkey-wrenches he makes lightning-like swoops at the gadgets racing by. The slightest error causes havoc. In pursuit of one neglected bolt he knocks other workers over, upsets the whole belt line routine, and ends a captive in the machinery.
In another sequence Charlie and a fellow-mechanic get lost in an enormous dynamo-like machine they are repairing. Caught in its cog wheels, they are whizzed about on different levels and go riding up and down chutes.
The boss gets the idea of cutting down lunch time by the use of a feeding machine. Chosen to try it out, Charlie is seated inside it and is administered an automatic feeding. Spoons jab into his mouth, a typewriterroller sort of gadget revolves a corn cob against his teeth, while a mechanical napkin wipes his face after each course. Something goes wrong, however, and Charlie (in Keystone slapstick, modernized) is fed steel nuts, soup is tipped down his shirt, pies are flung in his face, and he is unable to get out of the contraption as he is inundated with floods of food.
The monotonous routine of the endless nut tightening finally drives Charlie "nuts." The screen-projected face of the boss ordering him to hurry follows him even into the washroom when he retires for a smoke. He goes berserk. Holding wrenches to his head like horns, he per