MODERN TIMES (1936) ***1/2 Charlie Chaplin's realization of the "alienation of the worker" in the opening segment is incredibly powerful, unquestionably Marxist, precisely on point, and "goes beyond itself" to a magnitude to make Nietzsche weep and surrender. ÜberCapitalists haven't figured out how to humanize assembly lines in the years since, though they've had more luck turning the unions (particularly in the states, which, it must also be said, reflects positively on production). In fact Charlie foresaw the problem of unions being out of touch with the workers here, along with other plagues including cocaine (I understand that many of us consider cocaine laws more of a plague-how can there not be a punk song called "Prison Gruel Jones" based on this scene?), politically charged police enforcement (that's always been a problem, I guess), and herd musical values. Chaplin is incredible, body humour for the ages, presenting material that is at once entertaining and challenging at every turn. But, despite his unique and outstanding performance, flawless directing (sets and black & white milieu for the ages), cool music...it's not his film, not just his anyway. Barefoot and with mud on her face, Paulette Goddard is more elegant and graceful than any gaggle of starlets adorned in Rodeo Drive's finest. Especially barefoot. Bless her and pray for her soul, what an endearing performance! The linear plot line, moving the protagonist from situation to situation in which he can expound or escape, has always struck me as more life-like than anything that you can tie a bow around at the end. It's a film that you can watch with the sound off, with your brain off, with your sociological antennae off...but it sets forth a series and assortment of psychological impressions that you shouldn't wish will go away. High comedy, political intrigue, great romance, idiotic antagonists...this has more relation to your life than anything ever offered up by the "cinematic realism" sect.
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