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Charlie, with infinite care and love, quivering with excitement, arranges a New Year's Eve party in his cabin for Georgia and her friends, and sits down to wait for them with the beaming face of an excited child. His waning excitement, his refusal to realize that they are not coming, together with his final acceptance of the fact, are of the same unendurable poignancy as the major part of The Kid, so that he becomes the living symbol of that isolation of the spirit that is beyond remedy. Waiting, and losing hope, he impales two rolls upon the prongs of two forks and makes them dance.
1928 — The Circus (7 reels). Released 7th January.
Cast: Allan Garcia, Merna Kennedy, Betty Morrissey, Harry Crocker, Stanley Sanford, John Rand, George Davis, Henry Bergman, Steve Murphy, Doc Stone and Charlie Chaplin.
The film contains some of Chaplin's funniest comedy effects — his careless finger that inadvertently releases the catch of the magician's box of tricks, giving the show away and creating chaos — the tight rope act attended by a swarm of escaped monkeys who complicate his manoeuvres — the death leap by bicycle that takes him out of the big top, out of the fairground into the middle of a hardware store. The last shot is noteworthy. As the caravans lumber away, taking with them the happy lovers, Charlie stands immobile, watching them recede into the distance. Nothing remains of the circus but the outline of the ring upon the turf and, at his feet, a piece of paper with a star on it, that once covered the hoop through which his beloved little equestrienne used to jump. Charlie holds it for a while, dreaming, desolate, despairing. Then, suddenly, with his special jaunty kick, he sends the paper flying, and off he goes, sadness in abeyance now, towards the horizon that endlessly promises adventure to the free soul.
1931 — City Lights (87 minutes). Released 6th February.
Cast: Virginia Cherrill, Florence Lee, Harry Myers, Allan Garcia, Hank Mann and Charlie Chaplin.
Music composed by Charles Chaplin.
{Re-issued 1950).
The theme — of Charlie's gallant attempts to keep a roof over the head of the young blind flower-seller, his precarious friendship with the whimsical millionaire, with whom their fates become inextricably woven — gives Chaplin full scope for his peculiar gift of poignancy; and for expressing in terms of cinema the most delicate and subtle