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: 0 / 2

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


The Limelight is a Cruel LoverReviewed bywes-connorsVote: 8/10

Charlie Chaplin moves into the 1950s with an unusual drama about an alcoholic old timer (Chaplin as Calvero) and suicidal young ballerina (Claire Bloom as Terry). The comedian "Calvero" is drunk as the film opens, and obviously in the twilight of his career. He rescues Ms. Bloom from a suicide attempt and helps her to get back on her feet (so to speak).

The film seems almost like nothing, but becomes quite substantial. It's a very thoughtful film -- obviously, Chaplin in his 60s has lost none of his film-making skills: the difference is that you come to Chaplin on His terms. No longer interested (capable?) of producing massive audience "hits", Chaplin produces an indulgent, sentimental "Limelight". It's an excellent work, but very hard to digest.

Some impressions: Comedy is ballet. Life is ballet. Young needs old. Old needs young. Comics need a drug. Perhaps the film needs a single focus? I found the sequences where Chaplin is told by the "suits" he's washed-up to be most memorable; along with the small scene where a comic goes in for Chaplin's job because he's heard the old clown is awful. The stuff with Buster Keaton is very nice, too, and makes you wish the would have done a full film together. I believe Keaton's role makes the film deliberately less autobiographical than many would believe, but you can never be sure?

Chaplin is interesting to watch always; when he seems to be doing nothing, he's not.

******** Limelight (1952) Charles Chaplin ~ Charlie Chaplin, Claire Bloom, Buster Keaton

Chaplain's last song, offered "his way" without apologyReviewed byjungophileVote: 7/10

Most ordinary people fall into a role and a persona in their lives, and tend to not veer very far from it if it provides for them. Perhaps, due to extreme situations, they may find it necessary to reinvent themselves once or twice and rise to the occasion or fall into dissolution.

An artist like Chaplain had to reinvent himself over and over again over four decades, particularly in a medium that was changing every few years. That's probably why he had so many failed marriages with younger woman; he had to feel like a "player" to keep the flow going and fight back the doubt and anxiety (and the terror of becoming irrelevant) that inevitably begins to haunt creative men in their twilight years. Don't underestimate the power of sex magic!

Limelight is a film about those demons, and the immense courage (and yes, the love of a much younger woman, too, doesn't hurt), that is required to triumph over them. Still, everyone knows there is one specter that no man can outrun -- Death. Chaplain masks this existential dimension in layers of sentimental melodrama which you will have to decide for yourself is effective, but I think he does this intentionally to smuggle in some deep and darker themes that filmmakers like Bergman would become famous for continually exploring masterfully.

I found myself going back and forth with Limelight; there are times when the melodrama overpowers the film, and the pedestrian cinematography doesn't help matters. A few times I felt like I was watching the old Abbot and Costello TV show, particularly the apartment scenes. However, Chaplain is such an immense presence you can't help be engaged and encouraged to keep watching because you want so much for his character Calvero to triumph. His co-star, Claire Bloom, is quite effective, too, and she has several "looks" in this film to contrast and mirror the ongoing struggle the old comedian in having internally.

Getting on in years myself, and feeling washed up and without hope and purpose, Calvero's plight and faltering desire to once again command the Limelight was quite cathartic. I was amazed by his final performance with Keaton; when Calvero starts rocking that violin like Eddie Van Halen in his prime, I was in a state of sublime fascination. Here was a true artist giving everything up for his audience, feeling the peak thrill of having the audience at his command once again for a few fleeting moments; a thrill that, tragically, he will pay dearly for.

We can only hope that we, too, can earn such an exalted death as Calvero's. Perhaps that is Chaplain's hidden message in this film; that life is, in the final analysis, about striving for a death that ennobles those you leave behind.

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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