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Modern Times
Year:
1936
Country:
USA
Genre:
Drama, Romance, Comedy
IMDB rating:
8.5
Director:
Charles Chaplin
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
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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Reviews
A Masterpiece of Yesteryear
I was actually about to completely write off this movie until I actually realised the genius that went into creating it. In a way Hollywood simply does not make movies like this any more, particularly where the creative genius of Charlie Chaplin is the writer, director, and star of the show. Sure, Chaplin is one of those actors that I have heard a lot about – he is one of the greats of the early years of Hollywood – but I never paid much attention to him believing that the only decent movies of the silent era came out of Germany (and to an extent Russia). However, a friend at work was talking about a film called The Dictator and a part of me decided that maybe it was time to actually sit down and see what Charlie Chaplin was all about. Well, I have to admit that I am glad that I did.

The film itself doesn't have a plot, but rather is about the struggles of two people in the great depression and an age where technology is taking all of the jobs. However, Chaplin is a genius in how we satirises everything about modern life from automation, crazy inventions, the union movement, and even communism. On one level it simply seems to be nothing more than slapstick, though it is one of those movies that you have to take a step back and think about what is being said to really understand the true satire that Modern Times actually is – in a way it works on two levels, the slapstick for the lowest common denominator, and the satire of those who are actually willing to sit down and think about what is going on. Even then the slapstick itself is really clever – I am not going to forget the scene where he carries a tray into a restaurant to have everybody suddenly pile onto the dancefloor and then getting carried away with the crowd.

What really impressed me was how versatile they were when it came to making silent films. Sure, by this time they had started to produce talkies, and you could tell that this film did have a sound track (and Chaplin even sings), however it is clear that you don't actually need sound, or even a lot of words, to be able to see the action that is happening, and to work out what is being said despite the fact that no words are coming out of the actor's mouth – only their lips are moving. In a way this type of film is actually far, far superior than many of the films that we see floating around today with all the great computerised special effects and clever stunt doubles. In fact all of the stunts in this movie would have been performed by Chaplin without any special effects whatsoever.

Yet it is also interesting to see how much hasn't changed. In a way we look back in the days of our parents and grandparents and see a world where everybody had a job, and that you could drop out of school at year ten and walk straight into a career. It was also a world where people had money, and things were much more peaceful. However, Modern Times gives us a different glimpse into the great depression, where automation was taking all the jobs, and that unless you were skilled you were unable to find employment. Also notice how people are being sent to gaol simply for stealing a loaf of bread, but not only that but people will actually pursue somebody who is only trying to feed themselves. Yet we also have that dream of home ownership – and in a way it is painted that owning a home is a sign of wealth, a sign of achieving the American Dream – and the ending is interesting in that it gives the idea that no matter where you land up the dream is still alive.

Having a job is a key to living the dream – as we see with the heroine. When Chaplin gets out of gaol the third time (it seems that he is always landing up in gaol – as if ending up there is just a part of life, however it is also just a minor inconvenience on the road to living the dream), she has found herself a job, and is now dressed well, and has possessions. In a way that reminded me of when I got my first job – suddenly I had money that I could spend, and I could go down to the shop and impulse buy an Iron Maiden T-Shirt. However, there is a catch, something that is not indicated in the movie, and that is the trap that the modern society creates – to survive you must work, but once you start working you suddenly have access to credit, and what credit, or more so debt, does is that entraps you in that daily cycle of forever going to work.

Yet we also have the capitalist idea of forever producing more and becoming more efficient. The factory bosses are looking for ways to cut down on break times, so they create an automated feeding machine (which basically doesn't work). Then we have the assembly line going faster, and faster, and faster, until poor old Chaplin has a nervous breakdown and eventually sees bolts everywhere that must be turned. Yet this is still the case today, where employers are looking for more and better ways to become more efficient, to get more out of workers, and to eventually increase the bottom line. This is more so since, like in Chaplin's day, we have entered a period of a new normal after the Great Recession.
2017-02-05
Modern Times
Human existence and technology have been consistently intertwining with one another. From the initial appearance of the steam engine to the embedded chip under one's skin, automation has portrayed its real facet, that of a persistent evolution which replaces man and his fragility with a more perfect machine and immortality. Is it nonetheless worthwhile?

A 1936 Charlie Chaplin anticipates time and science by disputing the benefits of a technological contribution to life as we know it. Forcefully led as sheep into a subway, modern individuals sacrifice their Heimlich for the unknown; a rush towards a new slavery in order to acquire properties that are the fruits of personal fatigues rather than for overabundance. Useless belongings call for even lesser useful belongings, while the prize at stake would be an unconditional submission to a technological yoke that can induce the overpowering twitching of a body to relentlessly continue even when the machine stops.

A machine that ought to remain a simple extension of individuals' will or greed, throughout perseverance accompanied by a considerable number of failures and short circuits, slowly takes over and transforms humans into its own prosthesis. In this Deus Ex Machina (apó mēchanēs theós) situation, human beings are no longer champions of the Tragedy, but surrender to the solution itself. It is the genesis of a manichaeistic battle between two worlds; one where the desire to remain faithful to senses is only achievable through nonconformity and another that provides means of sustenance only through conformity. The inability to cohabitate both existences becomes unsustainable. Traditional ways of providing food or a roof over one's head become obsolete, and Law itself no longer protects the accidentally defenseless but accuses him, or her, of treason ("the communist").

What is one to do? Act like the cabman in Robert Louis Stevenson's short story The Body Snatcher, who shifts from an initial assumption of digging graves and provide corps for scientific purposes, to uncontrollable and impulsive murders? Perhaps abandon ourselves like Dr. David Kibner (Leonard Nimoy) to an emotionless, yet eternal, dimension in a 1978 San Francisco (Invasion of the Body Snatchers, 1978)? Or possibly allow a victorious artificial intelligence to facilitate our final transformation into humans' next biotechnological essence, just like HAL 9000 (IBM) did with Dr. Dave Bowman by turning him into a new "Star Child" (2001 A Space Odyssey, 1968)?

For what purpose is it all if, in the end, artificial intelligence is moved by the sole aim of resembling Human Kind in its "perfection"? Humanity would then face a situation in which a highly advanced robotic boy name David desires to become human in order to feel his mother's love (Artificial Intelligence, 2001).

"Buck Up – Never say die. We'll get along!" (Modern Times, 1968). Let us walk toward the sunset a little bit longer
2008-05-29
The Inspiration of continuing greatness...
Chaplin's "Modern Times" has influenced the 20th century as much as any other film could have. His portrayal of man vs. machine, individual vs. group, love vs. industry...is the framework of classic modern American "anti-progressive" thinking. Gilliam's "Brazil" is the late century equivalent. But Chaplin hit it right first, insuring generations would have the chance to relate to the challenges of their own modern times.
1999-03-24
Modern Times - by a teenager
I had always heard of Charlie Chaplin and saw a little bit of City Lights half way through. I was not really impressed and didn't really care. However I was determined to see Modern Times because I wanted to see what the fuss was about. At first, I wasn't really impressed because I didn't understand what they were doing. I also found the first few minutes pretty boring. I was wondering, "I thought he was supposed to be FUNNY." I even thought of calling this review that. I was not laughing. I felt that way until he does his hilarious signature walk, twirling around the jail. I was feeling very tired and sick at the time and I burst out laughing. I rewound it and I laughed again. That was a turning point. I was beginning to love Charlie Chaplin. Not only was I amazed by his comic genius, but his physically daring (or what would seem so) stunts. My dad and I were amazed at it! We had to rewind several scenes to try and figure out how it worked. It just worked perfectly. Another person who I was impressed with was Paulette Goddard. Although I think she wouldn't have been a good Scarlett, I think she is stunningly gorgeous in this. She really has a screen presence and I loved her in this. Yet another thing that was so relevant was the political element. Charlie Chaplin hits the nail on the head about the industrial situation in those days. So here I am, reflecting on this wonderful movie. Although it took me a little while to get into it, I am now a very big Charlie Chaplin fan. His modern genius amazes me. Not only do I love Chaplin, but this wonderfully told story.

I am a Chaplin fan for life.
2006-03-02
Modern, or Mean Times?
If you are among the audiences who have heard some points about the story but do not know how it will be told, you will most probably hope to watch a political and social film which talks in a 'political' way, to not to touch and disturb anybody else, especially anyone with a political and social power. As an accustomed cinema audience, who never expects a Hollywood film to tell about real life, I had prejudices about Modern Times before watching it. But all my prejudices have cleared out with an unexpected astonishment in the first scene of the film: a flock of sheep moving ahead with a strong and obvious oblivion compared to a huge group of labor at a rush hour peak. There could not be a more honest and brave way of explaining such a message: if the modernity, technology and the ambition for more money, that is 'Modern Times' turn the people into industrialized, standard and identical creatures, and make them forget their humanity; the society that they constitute will not be a society, but a herd. Just for this first scene, I can claim that there can hardly be such a film, which knows and explains what it wants to say without any fear of all the world powers watching.

First of all, we watch the Modern Times through the life of Charlie Chaplin as the Little Tramp who works in a factory assembly line and the gamine who is terribly poor and has to live in the streets. Between these two, the audience cannot decide which one to have pity for: Tramp is in a better condition compared to the gamine; at least he earns money and has clothes to wear on. The gamine seems to be in a terrible condition with her bare feet and dirty face. On the other hand, she has something that Tramp does not have: her own willpower that she can use to choose what she wants to live. In contrast, Tramp even does not have a chance to go to toilet comfortably, because he is seen as a machine- a part of the assembly line he is working - by the system, and a machine can not go to even a toilet. The system, or the Big Brother as the icon of the system in the film, believe that making the production more effective goes on the way of turning the labor into machines. In his opinion, effectiveness of production only means 'producing as fast as possible'. You can increase the speed of a machine by using its buttons, but what about labor? At this point, the Big Boss chooses to see and behave the labor as machines. The way he gives his orders not physically but through the technology- those big screens and especially in the scene of the feeding machine, we can clearly see the mistake of the system about the labor class: working 'with' the machines does not make them machines.

With the fact that Modern Times was shot nine years after the speaking films have started, it becomes even more interesting to see that Little Tramp still does not talk. We cannot say that this film is a totally silent film, because we hear voices and some specific people talking. But these specific people are the ones who have social status and power. Just as in the real life, we can hear only the powerful people of the capitalist system in the film. This is a genius contrast, because this film was made to be the voice of the people- the labor, the poor, the gamine - who do not have the chance to talk in real life as much as the boss, the rich- people who belong to the upper levels of society due to their monetary power. On the other hand, they still cannot talk even in this film, which is their voice. By this way, the Modern Times becomes the 'quiet scream' of those people, which makes this film even more dramatic and stronger. Another contrast is that when we hear the voices of those specific characters, such as the Big Boss and the feeding machine company, we do not directly hear them talking. Their voices come to us through an artificial tool, such as the big screens, the loudspeakers and the radio. As the age of technology, this is another criticism made to Modern Times. With all those tools that are named as technology, Modern Times kills our humanity. It becomes a barrier in front of us that hinders our communication and empathy. That is why the bosses start to see their labors as machines. That is a trick that Modern Times has made us since the day it was born: to kill the consciousness of being a human.

To conclude, the movie Modern Times will certainly have its place in the cinema history, as one of the most brave and honest films, which warn the humanity against the danger of 'Modern Times' turning into 'Mean Times', that may bring unconscious, standardized societies full with people who have turned into easily controllable sheep.
2005-09-29
Chaplin's Genius: Two Levels of Enjoyment
The irony (to a 16-year-old) of a 1936 film titled "Modern Times" notwithstanding, I can understand why anybody would like or dislike the film. On the surface, it's a black & white feature with scarce dialogue & cheap slapstick humor. I personally don't like slapstick comedy, but I realize that was Chaplin's forte. Besides, coming out of the silent film era, films had very little else to do for humor. Imagine a mute stand-up comedian (amen)!

However, there's a second level. The opening title shot establishes that this film concerns the American dream. The next shots show a mass of herded sheep, then a mass of herded people on the street. Later, Chaplin's boss observes an automatic feeder meant to eliminate a worker's lunch hour; this demonstrates the drive for inhuman efficiency.

Then, Chaplin meets the gamin, and they dream of a life together; Chaplin describes a dream home to Goddard's character. The film contrasts the ideal with their soon-acquired home, little better than a barn with a lean-to shed. This is a classic example of Chaplin's struggling common man in a time much larger than himself. I could go on, but it's 12:30 AM...

Chaplin's ingenuity lay in the fact that he could convey a stark message while simultaneously providing cheap laughs/entertainment. Directors such as Michael Moore fail in that respect; I found Fahrenheit 911 alternating between thought-provoking and ridiculous, but unceasingly difficult to sit through. Perhaps somebody should have written an entertaining drama or satire about an inept president named after some piece of vegetation...well, you get the idea. That's what Chaplin would have done (see: The Great Dictator).
2004-12-29
Good one
I love these black and white, old classics! Why does it seem like they did more with their films when they had less technology available to them? They don't have that ~Hollywood Magic~ that does their effects for them, it was all camera tricks and carefully strategized, one-chance-to-get-the-shot filmmaking and it is beyond impressive.

I enjoyed watching this! Full of cool and clever special effects and plenty of moments to make you laugh. Chaplin did such a good job of creating such a silly little character. The story was creative and fascinating, with imaginative concepts and energetic cinematography. It was a fun watch for sure. Delightfully absurd, yet it did give voice to the woes of unemployment and the voracious appetite of capitalism at the price of some disposable human equipment. Silliness with a sting. I recommend it!

8/10

Bye love you
2015-04-08
The Farewell Performance of The Tramp
Charlie Chaplin's Modern Times (1936) is the final film to feature the great actor/director/writer's most easily recognizable incarnation: The Tramp. Here is a character that is so ingrained in the collective conscious of modern film audiences that many recognize him despite the fact that they have not seen a single Chaplin film. Indeed, several iconographic studies have labeled The Tramp (with his worn hat, distinctive mustache, dusty suit, cane, and trademark waddle) as the single most identifiable fictional image in history.

Still, the film that perhaps most influenced the creation and thematic realization of Modern Times was not even a silent one. The Jazz Singer, which debuted in 1927, five years before Modern Times began production, is perhaps the most important watershed film in the industry's century-old history. In the film, comic great Al Jolson stands up in front of the audience and...sings. And as Millard Mitchell said in Singin' in the Rain, the public was suddenly in a frenzy for "Talking pictures! Talking pictures!" Sadly, with the advent of synchronized sound and dialogue, the world of silent filmmaking began to slip into obscurity with audiences and studios now viewing it as obsolete and undesirable. Nevertheless, Chaplin continued his passion for the subtle craft by creating City Lights (1931), which many critics and academics consider one of the greatest films ever made, but by the time Modern Times was released, Chaplin was one of the last directors left clinging to a dying art.

Modern Times is not an entirely silent film, (there are dialogue snippets and sound effects), but if you look closely, every character with dialogue (excluding Chaplin himself) is being mocked. Even when The Tramp opens his mouth (the only time he ever did so in a film), the words are nonsensical, defying the burgeoning convention that dialogue is mandatory for substance, entertainment, and quality.

Despite the film's status as one of the greatest comedies of all-time, it is hard to ignore the political component. In his movies, Chaplin often exhibited a great mistrust for authority and progress, as often embodied through the social elite, the police, and wealthy entrepreneurs. The irony of the film's title, then, is two-fold. It connects with Chaplin's own bitter feelings regarding his moribund art form, but also refers to the plight of the working classes during the Great Depression (long working hours with little job security and meager salary, while the upper classes remain wealthy and bide their idle time) The world was changing fast, and Chaplin foresaw that many of these changes were far from beneficial.

As we watch The Tramp struggle through the modern, mechanized world, we laugh at his antics and the absurdity of their results, but we can also feel pain and pity. He is clearly a man who does not belong. Indeed, The Tramp can almost be thought of as a misfit who has passed through a membrane from some alternate reality and unwittingly fallen into our familiar world (notice that he does not have a name or identification of any kind, and as far as we know, he has no friends, family, funds, or history).

He takes on assembly lines, feeding machines, department stores, policemen and various other mass-oriented aspects of the industrialized world (all which demand and exhibit sameness and conformity), but The Tramp (and his symbolic extension, the individual) never seem to fit.

This is, consequently, why Modern Times is also one of the most poignant love stories ever put on film. The only character who is on the same level as The Tramp is a young, homeless woman who is referred to as "The Gamin" and is played by Chaplin's then-wife, Paulette Goddard. These two are brought together by the fact they have almost nothing except the will to live and continue forward, despite adversity. Both are nameless, neither has a home, and they each have no money or material possessions.

It is here that Chaplin makes his most poignant and saddening statement about modern living. The Tramp and The Gamin are the only characters who exhibit individuality and idealism, yet they are also the ones lowest on the social and economic food chain. The conclusion of the film, which most likely reflects upon Chaplin's own emotions, is tinged with sadness, but also a lingering hopefulness that resonates as loudly and clearly today as it did more than sixty years ago.

Then there is, of course, the comedy, which is the stuff of legendary status. Some of the most memorable comic images in film history are found in Modern Times. These include The Tramp's bout with an assembly line (and his resulting twitches), his unfortunate encounter with "nose-powder", the moment when he quite literally becomes a cog in the wheels of industry, and his epic struggle to bring roast duck to an angry customer.

In my opinion, however, the two standout moments are the scene in a department store involving a blindfold and some rollerskates (the most exquisite moment of comedy in the film) and the sequence where The Tramp is submitted to the mad whim of an out-of-control feeding machine (the most uproarious moment in the film).

These are just a handful of moments that make Modern Times the enduring masterpiece that it is. On a personal level, the aspect of the film that resonates strongest with me is its appeal to the idealistic misfit in all of us. In our hearts, many of us long for the simplicity and exuberance with which The Tramp and The Gamin live life (with attention to the bare essentials and an absence of need for materialism and modern trappings).

As Chaplin so skillfully shows, however, our modern times make this lifestyle a faded dream, lost among the sheep-like herds of men and women scurrying through a modern metropolis that only Fritz Lang could make seem darker and more devoid of true humanity. Still, the final image of Modern Times refuses to let the film end on an exclusively tragic note and demonstrates that the individual is still alive and may yet find his way in an ever-changing world.
2004-05-10
Modern Times Is The Last Great Silent Film
Following the release of City Lights, Chaplin met with several world leaders as he toured the world for eighteen months. Chaplin formulated ideas for his next film during this tour while the United States was caught in the grip of The Great Depression. It was the wave of automation in the industrial economy which peaked Chaplin's interest. His visit to the auto and industrial factories in Detroit served as the basis for his opening scenes of Modern Times. Chaplin preventing his co-workers from chasing him by throwing the conveyor belt switch makes a huge visual statement which correlates with Chaplin's views of workers' lives being controlled by economic oppression. Chaplin, the artist unencumbered by daily life, views individuals in The Great Depression (literally) as cogs, in one late scene, in the industrial machine, left behind or replaced at will due to a changing economy.

In Modern Times, Chaplin plays the tramp for the final time with his latest female protégé: Paulette Goddard stars in her first featured role as the gamin. Chaplin again combines all the known trademarks of his craft into an immensely entertaining experience: Acrobatics and athleticism, allusions to previous films, crisp cinematography, great editing, pantomime, perfect comic timing, sight gags, social commentary, and some pathos. The combination is nearly perfect in a film which often feels not like a feature film but like a series of short films strung together. Several scenarios feature delightful changes in plot and setting, mirroring the necessity for the everyman to adapt to the changing world around him (although not always understanding it or being successful).

The tramp is cast as an everyman trying to balance his penchant for protecting pretty girls with maintaining a job in spite of his inability to gel as one of the crowd in the industrial environment. The tramp works in an electric company factory, in a shipyard ever so briefly, as a floorwalker at night in a department store, and again in the factory as an assistant to a mechanic. In between, he spends a few stretches in the hoosegow. He defends the gamin, who tries stealing bread from a storefront. Bit by bit, the tramp and the gamin join forces and realize it's more hopeful trying to make it together in life than by oneself.

Chaplin wrote, produced, and directed the film with a keen awareness of American society at the time. The film was released during the height of The Great Depression in 1936, and many aspects of the film speak to that, including the common themes of sticking together under trying circumstances and worker oppression. This is the second film which Chaplin composed the music for at the time of a film's original release. The song "Smile" can be heard multiple times during the film, has been used over and over many times since, and has become a standard in the cannon of great American songs.

Highlights of the film include the factory scenes, reminiscent of both Fritz Lang's Metropolis and Rene Clair's A Nous La Liberte a few years before. Modern Times created a controversy between the makers of A Nous La Liberte and Chaplin, taking many years to resolve. The scene where Chaplin inadvertently leads a mob of protesters turned bitterly ironic when over fifteen years later, it was used against Chaplin by those accusing him of having communist and socialist leanings. Chaplin paid for it, informally forced into exile to Europe from which he returned only briefly to receive a special Oscar in 1972. The automation scenes, while highly exaggerated for 1936, turned out to be not so far-fetched in the end. Today we can see this in everyday life, like self serve pumps and checkouts, and not just behind the scenes in factories and businesses. The prison scene serves as a visual metaphor for the working man enveloped by the industrial economy; success may be just as much a result of fate or luck as hard work, just like the reasons for his arrest and eventual release from prison. As the night floorwalker, Chaplin recalls his two earlier films The Floorwalker and The Rink, displaying his extraordinary athleticism on the escalator and with the roller skates.

Chaplin sings off the cuff (literally) as a singing waiter in a commentary about sound in films, echoing the public speeches at the beginning of City Lights. Chaplin has always relied on charm, facial expressions, gesticulations, and personality in films. In Modern Times, his message is clear that sound is as intrusive in film as the mundane requirements of the working world are in the lives of us all. He wisely chose to leave sound confined to the music he composed for the soundtrack and the factory's hierarchical communications filtered by mechanical means; an example of this is the big boss looking over the tramp's shoulder in the bathroom from the monitor, berating the tramp to return to work. The big boss also bears more than a passing resemblance to industrial giant Henry Ford. The film ends with one of the most recognizably upbeat scenes in American film history. Chaplin regular, Henry Bergman, makes his last film appearance as the café proprietor near the end. Chester Conklin plays the factory's mechanic. **** of 4 stars.
2008-11-09
Modern Times Movie Review
Charlie Chaplin is one of the actors, who gives us his body and his soul playing for the audiences in series of pantomimed movies. It is easy for all of us to express what we think, feel, and are concerned of by simply opening our mouth and speaking out, but Chaplin shows us that the ability to communicate with the other actors and the audience can be accomplished not only by the verbal speech, but also by the body language and our inner intentions. In the movie "Modern Times", he gives us a show of his sarcasm towards the fast-paced technology and the inability to catch up with the modernization in the world he lives in. The technology he describes and is concerned of supposedly should help us in our daily tasks as well as improve our life for the better; miserably it not only creates difficulties for him, but also makes it emotionally unbearable for him to deal with. He tries to be as fast as he could be when screwing in the nuts of the machines; he tries to adjust his attitude and physical body to perform and give his one hundred percent, but unfortunately he is left with disappointment when catching up with the rapid environment he is surrounded by. His skills and mind become rusty as he works only on one part of the assembly line over and over again like a robot without a break. His body is beaten- up from work and there is either no excitement at the work place or no direct benefits from the technological advancement. He tries to work hard and by the acceptable norms of the society, but his happiness is diminished as his soul and his inner self suffocate by the cruel demands from the management of the factory he works at. His dedication to accomplish his work requirements creates not only a problem for his co-workers and his superiors when slowing down the factory production, but also creates a nervous break for himself that only makes him physically and mentally weak and vulnerable when he foolishly plays around and annoys others by spraying them with machine oil. Throughout the movie Chaplin shows to us the dysfunctions of the new technology and he sadly transforms the difficult moments in his work career into comic laughter for the audiences. The situations he develops in front of our eyes make us question the advantages much argued and discussed to us about the positive influence of the new machinery. Back then human persona suffer to adjust to the new world which created obstacles and frustrations with the technology. The humanity was challenged by the new and changing future of the technological expansion. The movie shows us different unexpected scenes and aspects that the working class was dealing with at the times of scientific adaptation. Was it worth it or not for the human race to pass through the discomfort and discontent that the future had in store? Deeper insights are needed when conducting a formal or informal research on the case. Chaplin acts astonishingly in order to maintain his view for the present and future evolution concerning the human attempts to improve and benefit the society; and the movie brings us to our senses in observing the reality of the advantages and disadvantages in the new worldly- and quickly- changing technology.
2009-07-11
See Also
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