I first watched LIMELIGHT in the 1980s, when VHS took the market and I bought the entire Chaplin collection of full films. At the time, I found LIMELIGHT rather self-serving, a homage to Chaplin himself.
I had watched THE GOLD RUSH at the age of 6, THE KID about two years later, and I had been impressed by Chaplin's antics. In fact, I liked those so much that I rewatched them during a Chaplin festival in my teens. By that point, though, THE CIRCUS and CITY LIGHTS had moved up to compete with THE GOLD RUSH... and MODERN TIMES was now my favorite Chaplin.
Then came the VHS revolution and the chance to watch LIMELIGHT. I had first heard about it when I listened to the Frank Chacksfield Orchestra play the Terry theme (Terry being Claire Bloom in the film). I often whistled that tune and was disappointed that the film only played it in the beginning and its notes came up briefly twice, at the most thrice more. Which paved the way for my overall disillusionment.
Now, I know more about Chaplin and his life, I have seen pretty much his entire output, and the film has gained new stature for me. For instance, when I watched it in the 1980s I knew very little about what had caused Chaplin to leave the USA - not so much his refusal to testify before Senator McCarthy and HUAC, but the continued spotlight on his affairs with younger women, including allegations of rape.
Significantly, Claire Bloom plays Terry, the young ballerina that Calvero (Chaplin) rescues from street misery and ill health. His relationship with this young woman reflects the thorny side of being in the public eye, of the rather puritan morals (for instance, the Hays Production Code) governing US mentality in general, and Hollywood in particular, and of society's readiness to guttersnipe with figures like Hedda Hopper and her likes at the head.
Chaplin would answer those intrusions in his personal life even very effectively by marrying Oona O'Neill, and having a long, happy, and children-filled marriage with her, but in the film Calvero is the image of the decent, respectful older man, who knows that it would be very selfish to accept Terry's love.
To me, that is the main point Chaplin wished to convey as he prepared to leave the USA, his reputation in tatters by allegations of communist leanings and misconduct with young women. Of course, that is personal, even self-centered, but a man of Chaplin's visibility must have felt the need to clear his name, and he certainly does it in style, with a touching personal performance, humor, and extracting superb contributions from the beautiful Bloom, and from a very competent support cast, including Buster Keaton in a memorable clown routine sequence at the end.
It is definitely Chaplin's finest talkie, and, as ever, he acted, directed, and wrote the musical score. Can anyone honestly give 1 or 2 out of 10 to such a magnificent multi-hatted effort? I think not, and I pity those who do because they miss one of the points of great art: the self-portrait.
Given that if IMDB existed in the 1980s, I would probably give it 7, I have docked one star to kind of balance my perceptions then and now. However, today my view is that LIMELIGHT is a work of genius and humane philosophy, a bona fide masterpiece that warrants many viewings - one will definitely not suffice. 9/10.
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