Chemistry in Cinema Part IV

So far I have Moonlightning and The Secret of Their Eyes as two of my best onscreen chemistry I have seen in cinema. I'm still trying to decide on how many blogs I'll do; one thing is for sure, I don't want to force a number, meaning that it won't be the usual "Top 10" or "Top 5"... countdown. Whether if it's six, seven, five or eight, as long as I write about the ones I feel deserve the distinction and you like them, I'll be happy about it. Today it's time to name the next one: The Tramp and The Flower Girl from City Lights.

City lights was the first movie that found Charlie Chaplin under the pressure of having to release a movie with sound in a time where silent films were dying, yet Charlie was able to get a way with it and keep it silent, so you have to have an open mind if you are going to watch it, especially if it's your first silent film.

City lights is a love story about Chaplin's signature character The Tramp, who falls in love with a blind girl who sells flowers. Through a series of odd occurrences -that are subplot of the movie- she begins picturing him as someone he's not: rich, elegant, classy, and the circumstances that drive every scene keep reinforcing that in her world.  It deals with many of the subjects that surround complicated relationships, such as hope, dreams and expectations, obstacles and how to overcome them, sacrifice, acceptance and rejection, and of course the feeling of wanting the better for the person you love.

The Tramp and The Flower Girl

Like another movie I'm thinking of including in my list -but I won't spoil yet-, The Tramp and The Flower Girl do not share much screen time together because the movie is mainly about The Tramp's adventures, and I may be crossing the line here when I say that I get the sensation the movie has a very egocentric nature around him; but... every time he's in the same frame with the Flower Girl, his character diminishes and they actually get to equal level. And it's not particular importance or relevance in the film, but how they both seem to talk the same language and share the same feelings, which is what chemistry is all about.

The Tramp boxing for love

The characters are as solid as you can imagine. The Tramp is... well, The Tramp. He is loyal to his routine and to his habits that made him so lovable by audiences. It is Virgina Cherrill who steals every scene she's in. Virginia Cherrill is The Flower Girl by definition. She is very effective in transmitting the emotional charge her persona, as well as the dreams and thoughts that surround her. It's amazing how with her talent, she retired from acting after a couple of years; it's even more amazing that she and Charlie Chaplin did not get along, and that Charlie even fired her at one point during production.

The Flower Girl... her ground has been shaken

I don't want to spoil much of City lights, but I will say that the ending is one of the best I have seen in my life, regardless of the genre. There are countless threads in many boards and public forums trying to come up with an answer of what the ending means and moreover, what happens next. I think that knowing Chaplin and understanding his genius when filming, he probably wanted to transmit that precise feeling that we get once the end hits the screen, and that starts all this debate around the future of both characters.