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Download Modern Times 1936 Movie Legally
Drama, Romance, Comedy
IMDB rating:
Charles Chaplin


          Modern Times IMDb    Modern Times Wikipedia    Modern Times Soundtrack

Paulette Goddard as A Gamin
Henry Bergman as Cafe Proprietor
Tiny Sandford as Big Bill
Hank Mann as Burglar
Stanley Blystone as Gamin's Father
Al Ernest Garcia as President of the Electro Steel Corp.
Richard Alexander as Prison Cellmate (as Dick Alexander)
Cecil Reynolds as Minister
Mira McKinney as Minister's Wife (as Myra McKinney)
Murdock MacQuarrie as J. Widdecombe Billows
Wilfred Lucas as Juvenile Officer
Edward LeSaint as Sheriff Couler
Modern Times Storyline: Chaplins last 'silent' film, filled with sound effects, was made when everyone else was making talkies. Charlie turns against modern society, the machine age, (The use of sound in films ?) and progress. Firstly we see him frantically trying to keep up with a production line, tightening bolts. He is selected for an experiment with an automatic feeding machine, but various mishaps leads his boss to believe he has gone mad, and Charlie is sent to a mental hospital... When he gets out, he is mistaken for a communist while waving a red flag, sent to jail, foils a jailbreak, and is let out again. We follow Charlie through many more escapades before the film is out.
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Still modern, funny and profound
It is difficult to review Chaplin's movies objectively because many of us have seen them, or at least have heard about them, since we were young. They have become part of our emotional and/or cultural background.

Chaplin is arguably the only complete director: in most of his pictures, he also produces, acts, writes the script, composes the music, does his own stunts and edits. His talent and reputation generated numerous commercial successes, even when he continued directing silent movies after their time. "Talkies" were the only films produced after 1927, the few silent attempts afterwards were failures; yet Chaplin was an exception: "City Lights" in 1931 and "Modern Times" in 1936 were sensations worldwide (the latter includes a few sounds but they are marginal). This is remarkable since nine years is an eternity in cinema timeframe. Only in 1940 did Chaplin direct a talkie.


Is the movie a comedy? Partly: tragi-comedy is Chaplin's trademark. In my opinion, there are three levels of humour.

1. Pure amusement, sometimes as in slapstick: the tramp eats all he can to be sent to jail and even buys more when he is with the policeman; he is drugged in jail; the tramp and the gamin imagine their life in an idyllic house; the tramp roller-skates close to an edge in the department store (fabulous stunt); he makes a lousy waiter but a great actor at the end. Again, I am not certain how much of the fun is derived from childhood memories and/or the fact we feel younger as we watch the film. To enjoy it fully, we must lay aside some of our adult critical sense, notably towards old-fashioned cinema.

2. No humour, just drama: the gamin's father dies; her sisters are taken away; the tramp crashes his way through the crowd to get a job (an efficient illustration of ruthless competition).

3. Amusement with a dramatic twist: these are the most frequent scenes, and probably the best. We grin even as we laugh. The movie opens on sheep moving grouped (of which a black one: an allusion to the tramp?), that fade out to workers coming out of the subway. This must have been a shock for the audience during the Great Depression. Another example is one of Chaplin's most famous scenes ever: the tramp tries the eating machine. It is at the same time hilarious (Chaplin really gives all of himself here) and pathetic: a metaphor on ill-conceived progress, oppression of man by machine and conditions of workers obliged to comply with strange requests.

Other scenes include: the entire first part in the factory, including when the tramp is stuck in the machine (inside shot, that became iconic), which also happens to a colleague later on (outside shot); the tramp launches by mistake an unfinished ship into the sea, with footage of an actual ship that was probably sunk because of the Depression; the tramp and the gamin make most of their shabby hut.

The movie efficiently alternates these three levels of humour, as well as its rhythm. It famously starts as a whirlwind with dynamic tempo and music. And it ends like a roller-coaster: funny musical (the tramp sings), emotional (he is hired), dramatic (the police arrest the gamin), thriller (they run away as climatic music plays), melancholic (they are on the road, free but uncertain). The last image is rightfully double-edged: the tramp and the gamin walk away, but mountains ahead block their road. She looks like an elegant lady, he looks a bit like a clown with his funny walk and big shoes. We don't know where they are going, nor do they.

Hence Chaplin's ambition was far more than to just divert. Themes depicted eighty years ago are still modern:

- Crisis, redundancies, strikes, inequalities, social unrest

- Working conditions in factories, even though exaggerated by humour and symbols: productivity, control, burn-out

- Technology that dehumanises: chain-working, the eating machine, video surveillance (a science-fiction element at the time). Remarkably, the only sounds of the film are coming from devices, not humans: screen, phonograph, radio

- Success with talent, work and some luck

- The law. The topic is prominent (the police are omnipresent) and ambiguous. Can one steal food to survive? Chaplin seems to excuse this behaviour. The tramp is on both sides of the law: he steals food but helps the police arrest villains in jail. And the police's role is complex; notably, they shoot an unarmed man, followed by the ironic card: "The law takes charge of the orphans"

- Violence and drugs in prison

The universal dimension of the movie shows by the fact the main characters have no name: the tramp, the gamin. Chaplin will be blamed for its social topics during the McCarthy era, among other grievances, and he will be forced to exile. Considering it now, this seems ridiculous since the message of the film is not communist: the tramp and the gamin want everything but change society; they search for a job, a home and respect. Note also Lincoln's portrait in the tramp's cell: he is a patriot.

The movie does not take sides. Workers can be friendly or violent. Policemen can be friendly (e.g. in jail) or violent (one purposelessly pushes the tramp outside the factory). Prison inmates can be honest (the tramp) or villains. Women can be attractive (the gamin) or not (all others, actually). This double-sidedness also divides individuals. Big Bill was bullying the tramp in the factory, but later sympathises with him. The gamin steals and then becomes settled. The tramp will do anything to protect the ones he loves (the gamin, children), but can abuse almost anybody else to achieve it: a recurrent feature in Chaplin's pictures.

The underlying message seems to be: people are not good or bad, it mainly depends on their conditions. Yet another modern theme.
"Hard Times" turns into "Modern Times"
The title of Chaplin's "Modern Times" reminds us of the novel "Hard Times" by Charles Dickens. In fact, both masterpieces are examining the same subject, that is the mechanization of human beings that came with the Industrial Revolution. However,this mechanization is criticized in different ways.

Charles Chaplin makes fun of the modern times which is around the Industrial Age, with a satirical tone. He puts smiles on the viewers' faces throughout the movie. So not going into further detail about the technicalities of the movie, it can be said that it makes you smile and think at the same time. Therefore, if you are a Charlie Chaplin fan and want to smile and maybe even laugh, then go for this movie. Because it is one of a kind.
Humorous tale of life during the great depression
Charlie Chaplin's "Modern Times" was released on February 25, 1936. This film would be Chaplin's last silent film. Charlie Chaplin reprises his role as the Tramp in this film set during the Great Depression. Chaplin continues his mastery of silent theatric humor in this film, whose storyline many people would have a hard time finding humor in. This film is fittingly produced in black and white. Modern Times is based in the midst of the Great Depression. The main theme of the film is to make the viewer aware of the conditions of the Depression and how they affected most people. This film raises our awareness of issues such as poor work conditions, unemployment, poverty, hunger, and the harsh reality of broken families during this time in history. Charlie Chaplin plays the Tramp who recently becomes unemployed after having a nervous breakdown, as a result of being worked too hard. The Tramp struggles to find and keep a job in these tough times. Discouraged, he resorts to trying to get thrown in jail so he has a place to sleep and food to eat. During his attempts to go back to jail, the Tramp meets the Garmin, played by Paulette Goddard. The Garmin is a young runaway orphan who recently lost her family, as a result of her father being shot in the street. The Garmin and the Tramp are now homeless, hungry and poor. They come find hope in each other and find a new determination to survive together and beat the odds. This film follows their struggle to overcome the odds, earn an honest living, keep nourished and maintain hope throughout all of the obstacles they encounter. Charlie Chaplin wrote, directed, composed and produced this film. Chaplin's masterful use of sound draws the viewer into the scene. In this film, sound is vital in establishing mood and atmosphere of scenes. One defining scene in the film that is a perfect example is a scene where the Garmin loses her father. The Garmin and her sisters are on the dock collecting wood (happy, joyous music is heard), next a gunshot is heard and the music becomes frantic. The Garmin sends her sisters off and she rushes to see what happened. She arrives at her father lying in the street and takes him in her hands as the music turns sad and she mourns her father's death while holding him in her hands. Chaplin also uses masterful body language to portray the emotion and tempo of the film. This is a vital component to this film, like so many other silent films. One good example of this is when the Garmin and Tramp are sitting on the side of the road. The Garmin suddenly comes to tears and dramatically places her head in her arm to cry on. The Tramp and the audience are fully aware of her mood at that moment. This films overall theme is similar to that of Cinderella Man. Even though these films were produced about 70 years apart, they share a theme. Regardless of the circumstances you are dealt, you should never give up. While Cinderella Man is based on a true story of the Great Depression period, Modern Times is based on Charlie Chaplin's unique portrayal of the period. I would strongly recommend viewing this movie to gain a better understanding of this period in American History.
The Lady and the Tramp
MODERN TIMES (United Artists, 1936), was written, produced, scored, directed, and stars Charlie Chaplin in what was to become his final role as the Little Tramp. It also marked the close to the silent screen era. In fact, MODERN TIMES, though not essentially a silent film in a sense, but more like some made between 1927-29 equipped with underscoring, sound effects and talking sequences. While silent movies officially ended by 1929, Chaplin kept that genre going with CITY LIGHTS (1931) and MODERN TIMES, demonstrating that silents is still golden. Chaplin, having come a long way from London music halls to American silent comedies dating back to 1914, not only developed his character but established the greatness in his work. Reportedly in production for two years, possibly more, Chaplin's ability to perfect comedy routines into a simple story like MODERN TIMES is amazing. Supporting Chaplin is Paulette Goddard, an movie extra since 1929, now awarded the opportunity in a major role opposite the comedy legend. Unlike Chaplin's other leading ladies of the past, Goddard is reportedly the only one to become successful, especially during the 1940s following her second pairing in Chaplin's first talkie as THE GREAT DICTATOR (1940).

The opening credits super imposed in front of a clock, indicates time as now, while its opening title that reads, "Modern Times is a story of industry - of individual enterprise - of humanity crusading in pursuit of happiness" indicates something else, a satire of the machine age, past, present and future, while in fact being one story with two related themes. The first revolves around two people of different backgrounds facing uncertainties with their present lives while the second half turns into a love story between these two same people who have fallen through hard times of the Depression. Before their devotion to one another occurs, their introduction begins with Charlie (Charlie Chaplin), a factory worker of the Electro Steel Corporation where he tightens bolts on moving belts. Unable to adjust to the advanced technology as a tester to a a new type of feeding machine, he acquires a nervous breakdown that has him committed to an asylum for a rest cure. Next introduction is on the Gamin (Paulette Goddard), a waterfront girl whose unemployed father (Stanley Blystone) is killed in a riot, leaving her two younger sisters to be sent to an orphanage while, after escaping from the juvenile officers, struggles to survive in the outside world. Caught stealing a loaf of bread by the law, Charlie, who has since been released from the hospital and struggling himself to find work, comes to her defense admitting he stole it. The lady and the tramp meet again in the patrol wagon that soon breaks down in an accident, leaving these two strangers to make their escape together into the world of uncertainty. Their uncertainty finally turns to hope when a cabaret owner (Henry Bergman) hires the girl to work as a dancer while Charlie is employed as a singing waiter. All's well until the juvenile division track down the girl to have her arrested.

For one of Chaplin's most admired films, there's no spoken dialog, at least from Chaplin's standpoint. Talking sequences comes from the factory president (Allan Garcia), who, at one point, yells at Charlie to "get back to work." Other sounds include a radio announcer's voice, police sirens, a barking dog and stomach churning. Chaplin, who preferred to keep his tramp character silent, did offer audiences the opportunity to hear his voice for the first time, in song, for the cabaret sequence, doing some double-talk rendition to "Titina."  

While MODERN TIMES has become relatively known throughout the years, it was rarely revived until Chaplin's reissued it some time prior to his death in 1977. Having attended the 1980 theatrical revival of MODERN TIMES at the Regency Theater in New York City where it played to a full house, I witnessed patrons, young and old alike, laughing hysterically and watching with amazement at many key scenes being the feeding machine sequence; Charlie roller skating around the department store blindfolded; and his method of feeding lunch to his employer (Chester Conklin) while stuck inside the machine's safety wheels. Considering MODERN TIMES to be not quite so modern by today's standards, it demonstrates how comedy never grows out of style.

Acquiring less pathos than CITY LIGHTS, MODERN TIMES is most memorable in the way it bids goodbye to Chaplin's world of silent movie making through its underscoring to the sentimental "Smile (Though Your Heart is Breaking"). MODERN TIMES, along with other Chaplin features and short subjects, were distributed on CBS Home Video in 1989 to commemorate Chaplin's centennial year of his birth. Though frequent revivals on various cable channels, ranging from Turner Network Television (1989), American Movie Classics (1991-2001), and Turner Classic Movies (as part of "The Essentials") assures how this and many other Chaplin films are to remain in view as long as there are those around to appreciate his art and style the way he originally intended it to be, through laughter and a little tear, especially during these modern times. (****)
Still a Modern Classic
We like to think that comedy has evolved since the time of silent film. We like to think that with the advent of sound and the injection of modern technology in all aspects of film production has made just about everything better. Indeed, it's hard to argue that so much of today's fun and farce just can't exist without a sound mixer and a few boom mics laying around. Ask yourself, if you put The 40-Year-Old Virgin (2005) or The Hangover (2009) on mute, would you really get anything out of it?

By 1936, sound had long taken the film industry by storm. In fact, if you listen closely to the moment Al Jolson uttered "You ain't heard nothing' yet," in The Jazz Singer (1927), you may have heard the careers of many shattering in earnest. Never has there been a piece of technology so seamlessly adapted to an industry before or since. To name the number of noteworthy films made after 1929 that were silent would be to name perhaps a dozen.

Yet with this adoption came growing pains. The cumbersome size of the Photokinema sound-on-disc machines and their components meant cameras had to stay bolted down. Actors had to not wonder too far from the mic or worse still, find a way to wear several pounds of bulky microphones under their garments. What once were dreams, stitched together by editing cuts became pale imitations of stage plays. The grammar of film essentially took two steps back.

Seeing this, silent era superstar Charlie Chaplin decided to stem the tide. In 1931, he directed, produced and starred in City Lights, a romantic masterpiece of stagecraft and pantomime that to this day is one of the best examples of the beauty we lost. Seeing the writing on the wall by 1936, Chaplin decided to give the Tramp one last hurrah before retiring the character. One last bow before the tendrils of technology transforms his career into a shadow of its former self.

Modern Times is at once one last bow, one last look at innocence lost and one glorious masterpiece of cinema. In it, Charlie's lovable Tramp struggles to adapt to a modern technological age while causing light-hearted mayhem everywhere he goes. Throughout the film he tries to conform to working as a security guard, a longshoreman, a factory worker, a mechanic etc. yet his peculiarity prevents him from being at a work site for too long. During his struggles he befriends an woman named Ellen (Goddard) who aids him in his quest for fulfilling work. They of course, fall in love in the chaste innocent way that couples did in the films of the time.

Modern Times is infamous, for among other things, a soundtrack that includes the earworm "Smile" composed by Chaplin himself. The most famous cover was crooned by Nat King Cole whose astringent voice had the poorly covered scars of a life harshly lived. "Smile" to Modern Times is perfect; both as a bittersweet anthem and as addition to the American songbook. It perfectly captures the Tramp's uneasy monachopsis while hanging onto a buoyant hope of finding purpose. It's at times sad, at times triumphant but always life-affirming.

Modern Times is also known for large, unique and detail filled comic set-pieces that despite being around for eighty years still coaxes laughter. One after another, these moments capture the absurdities of industrial life no other film does. Whether it be Chaplin toiling over a conveyor belt of widgets or literally being engulfed by a mechanical do-dad, He always has the perfect expression to reaffirm his humanity in the most inhuman of situations. It's pitch-perfect pantomime done by a true master of the craft.

Of course, being the film advertised as "the one where The Tramp speaks," Modern Times does succumb to the encroachment of sound. And unlike in City Lights, Chaplin decides to inject it as part of a large theme as opposed to a target of mockery. The film is book- ended by two moments of sound, the first of which is his factory boss yelling at him through a large projected screen. "Get back to work!" he yells while the Tramp struggles to find a moment of respite. The inclusion of sound as an oppressor, even a personified one is an effective means of identification. Those who have heard the phrase "If you have time to lean, you have time to clean," will no doubt sympathize with Chaplin's character in that particular moment in time.

The second time sound is used, is to affirm Chaplin's Tramp as a unique individual amid a crowd of onlookers. Late in the film, Ellen finds a job for the Tramp at a restaurant as a singing waiter. Right before his debut, he struggles to remember the words of the song he's to sing. He decides to put the lyrics on his detachable cuffs. Invariably, he looses the cuffs and, thinking quickly, begins to sing in gibberish. It's a prank pulled on audiences clamoring for the Tramp to finally speak on screen, yet it's one that's so incongruously Chaplin that one can't help but admire it.

With Chaplin having a hand in every aspect of the film's production, one can write an entire book fawning over the exploits of a genius so ahead of his time, we still feel his influence. Modern Times showcases that genius, filling the celluloid with beauty, pathos, humor and humanity. Years after most of today's contemporary comedies fade into obscurity, those centuries from now will still fondly remember Charlie and his lovable Tramp. I guarantee it.
Chaplin at his best...Paulette Goddard delightful...
MODERN TIMES is at its best when Chaplin is doing the sort of physical comedy that is his greatest skill. The factory scenes and the skating scene in the department store are just two of the highlights--but all the way through he combines his physical dexterity with warmth as the Tramp struggles to survive in a world gone mad with new technology.

And his partner in this happy excursion is PAULETTE GODDARD, a striking young beauty who a few years later almost won the role of Scarlett O'Hara in GWTW.

The print TCM is showing is flawless and there is pure delight in watching Chaplin and Goddard romp through a series of vignettes that come together to produce a well-paced story where no dialogue is needed to tell the simple tale. Keeping the running time down to an hour and a half is an asset here--especially in an age where most major comedies are often told in two hours or more.

Chaplin's background music is a good counterpoint to the visuals, although one wishes that one of his themes for the scenes where he cheers up the gamin (and later recorded as a hit song called "Smile"), had been given a more lavish treatment.

Trivia note: GLORIA de HAVEN can be seen as Paulette Goddard's young sister. You have to look closely to spot her since she appears to be only 12 or 13 in the role.

The Tramp goes out with a bang...
The arrival of sound to films in 1927 (in the movie "The Jazz Singer") was definitely a major turning point in history of cinema, and one that would have enormous consequences in the motion picture industry of those years. Only 2 years after "The Jazz Singer" was released, sound films ("talkies") became the dominant format in cinema, and slowly the silent era reached its end and with it the careers of those who couldn't make the transition. Of course, sound faced harsh opposition from many prominent artists of silent movies like directors Sergei Eisenstein and Charlie Chaplin, who felt that sound diminished the art of cinema instead of elevating it. Soon, both directors would find themselves forced to get with the times and make the transition, but Chaplin wouldn't quit without a last laugh. 1936's silent movie "Modern Times" would be Chaplin's sweet farewell to his beloved silent era, and with it, to his most famous character: the Tramp.

"Modern Times" is the story of a factory worker (Chaplin as the Tramp), who works at an assembly line in an enormous industrial facility. The constant overworking begins to take its toll in him and suffers a mental breakdown that sends him to the hospital. After his recovery, he discovers that he is no longer an employee, as the workers are on a strike, and are now marching towards the factory. By a weird series of circumstances, the Tramp is arrested after being confused with a Communist leader, and sent to jail where he spends literally the best time of his life. After being released for good behavior, he finds himself again jobless and on a very difficult condition, so he plans to return to jail as soon as possible; however, his plans will change after he meets an orphan girl gamine (Paulette Goddard), who is living in a harshest condition than his.

As usual, "Modern Times" was not only a movie directed by Chaplin, but also written and produced by himself; and once again he returns to his familiar mix of drama and comedy that he had been perfect over the years with monumental classics like "The Gold Rush" and "City Lights". This time however, Chaplin takes a more politically charged approach and fills his comedy with his ideas about the harsh life of factory workers, dehumanization, and the Great Depression. While this often unsubtle use of comedy as an outlet for his ideologies could had been damaging for the story in other writer's hands, Chaplin creates a joyfully optimist and very humanist plot that helps to make easier to enjoy and understand the overtly political tone of the film. The story is written in an episodic form, but it flows with nicely thanks to its nonstop series of excellent gags that keep the fun coming.

Visually, the movie is probably Chaplin's greatest artistic achievement, as he extends the themes of his screenplay to the overall look of the film. With a clever use of montage (obviously inspired by Soviet filmmakers) and several nods to German expressionism, Chaplin brings to life his vision of society slowly transforming into a industrialized monster where there is hardly any place for love and happiness. The excellent art direction by Charles D. Hall and J. Russell Spencer is an essential piece for this and it's definitely a highlight of the film, as it truly makes "Modern Times" feel "modern". While for the most part Chaplin manages to keep a good balance between the drama and the comedy of the film, he can't help but fall on excessive sentimentalism, making the film feel a bit too preachy at times.

The main cast, as in every Chaplin movie, is remarkable in their performances, and each one of them truly add a lot of their personalities to their roles. As his most famous character, the Tramp, Chaplin here is pure gold and as always, he fills the screen with his charming presence and enormous comedic talent. His body control shines in several scenes of slapstick comedy that are nowadays classics, and he also shows off his total domain of pantomime as he easily transmits the audience that joyful optimism that has become the Tramp's trademark. As the Tramp's counterpart, Paulette Goddard is simply beautiful, displaying a natural charm and freshness that makes her character the Tramp's best sidekick since Jackie Coogan in "The Kid".

While this movie was supposed to be Chaplin's first "talkie", he quickly dismissed the idea as he considered that his Tramp character worked better without speaking; so with this in mind the legendary comedian decided to transform "Modern Times" into a hybrid: a "talkie" in the silent era style, where every sound in the film is audible except the human voice. In fact, the only spoken voices that become audible are the ones that come out of machines (radio for example), keeping in touch with the script's themes of humanity trapped by the modern industrial nightmare. This could also be seen as Chaplin making fun of "talkies", as while technically he shot a movie with sound, he faithfully followed classic conventions of the silent era like title cards and specially, the pantomime style of acting.

"Modern Times" is without a doubt one of Chaplin's best films, and one of the most interesting comedies of all time. While it kind of lacks that naiveté that made "The Gold Rush" such an amazing experience, it offers a new and more sophisticated style of comedy. As the last movie of the silent era and the Tramp's final on-screen apparition, "Modern Times" is a timeless classic that even today helps us to remind that despite the advent of the modernization, there's still place for happiness, as in the Tramp's words, "Buck up - never say die, We'll get along." 9/10
Historical Cult
Definitely, one of the best movies of all time. If you are young and meet with Chaplin for the first time, it is the first movie that you need to see.

I am sure you'll find this movie very unique and great. With the aid of this movie, you may change your perspectives through people and maybe even your life style. It's a difficult job to foreshadow 21th century in 1936 but Chaplin did it with a perfect way that's why I adore him and his movies.

Furthermore, it represents many features of capitalism -today's economical and social model- with a satirical way of point. You may watch very "direct" political movies but don't like them because they focus on a specific kind of audience. However, Chaplin directed/wrote his movies for all sort of audiences in a very repressive time. He risked many things to make us watch these masterpieces.
Monkey wrench...
Along with Fritz Lang's METROPOLIS, Charlie Chaplin's MODERN TIMES ranks as one of the greatest (and earliest) examples of the sorry plight of the working poor. MODERN TIMES begins with a shot of a clock (a time clock?) before cutting to a shot of sheep being herded along (to their deaths?), followed immediately by a shot of a herd of workers pressed shoulder to shoulder in their haste to get to work. Not exactly subtle, but the point is made. When The Assembly Line Worker (Chaplin) is selected to test an automatic worker-feeding machine (which will allow the workers to continue working during lunch), the contraption proves impractical. Not long thereafter, The Worker has a nervous breakdown and ends up quite literally caught up in the gears of The Machine. He's extricated and hauled away to a hospital. (Which means that he has better health care coverage than I ever did...) No sooner has he been released from the hospital than he's mistaken for a labor leader (a "communist") and hauled off to jail. He does his time, then meets a homeless girl ("the gamin") and they fall kinda sorta in love. He vows: "We'll get a home! Even if I have to work for it." And so it goes, from one f---ed up situation to the next. MODERN TIMES could very well be "rethought" for today's audiences, though I seriously doubt anyone could come close to what Chaplin wrought.
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