Featured Audience Ratings

• Carlos M

  
  A deeply heartfelt story that doesn't need too much effort to make us feel for and care about the genuine connection that grows between the two central characters. Besides, it is more than a pleasure to see Chaplin and Buster Keaton sharing the final act together.

• Michael G

  
  Limelight is an incredibly beautiful, incredibly sad and at points incredibly funny movie. The cinematography is outstanding and the set design (namely during the Columbine sequence) was beautiful. Speaking of beautiful, Claire Bloom has never looked more lovely. Charles… More
  Limelight is an incredibly beautiful, incredibly sad and at points incredibly funny movie. The cinematography is outstanding and the set design (namely during the Columbine sequence) was beautiful. Speaking of beautiful, Claire Bloom has never looked more lovely. Charles Chaplin's turn as Calvero is poignant and touching, almost as much as his script. Limelight is an all around great movie but the scene with Chaplin and Buster Keaton steals the show. The story starts bottoming out a little into the second hour but still a great movie. Proof that Chaplin was just as good after he started talking in his movies...

• AJ V

  
  An interesting late Chaplin film, the highlight of Limelight for me was the scene with Keaton, other than that I found the movie pretty boring, but if you're a fan of his you should check this movie out.

• Pierluigi P

  
  bittersweet reflection on Chaplin's own career. full of his characteristic bonhomie and tenderness. Buster Keaton's appearance marked the first and only time the two greatest comedians of the twentieth century were in the same film.

• Byron B

  
  I watched this when Hulu offered a free weekend of Criterion Collection films. "The glamour of limelight, from which age must pass as youth enters." In the first scenes we see Chaplin characteristically staggering drunkenly to his apartment in 1914 London. Though he is… More
  I watched this when Hulu offered a free weekend of Criterion Collection films. "The glamour of limelight, from which age must pass as youth enters." In the first scenes we see Chaplin characteristically staggering drunkenly to his apartment in 1914 London. Though he is playing Calvero, he acts a bit like The Tramp here. After he saves the young ballet dancer, Terry (Claire Bloom), from her attempted suicide and sobers up, we are treated to a more personal Chaplin, who often speaks of life like he does at the end of The Great Dictator. The character Calvero may be partially inspired by the lives of Chaplin's parents, but also is probably autobiographical. Calvero finds purpose in his life as he helps bring Terry out of her despair. He is not quite able to take his own advice when faced with the depressing thought that his career as an entertainer is at its end. They then switch roles and Terry must be the guiding light of hope for the alcoholic Calvero. There are several inventive dream sequences of Calvero doing vaudeville comedy acts. While getting back on her feet and pursuing her ballet career, Terry develops a romantic relationship with piano player Neville (played by Chaplin's son Sydney). I particularly enjoyed the "backstage" glimpse of the entertainment business of this era. It is an interesting intersection between classical high art and popular low comedy (with Chaplin composing the music himself, of course). The supporting characters are all excellent. And Chaplin shares the stage with Buster Keaton in a priceless, but too brief, musically inspired bit near the tearful conclusion.

• Dillon L

  
  Even though I believe he ended up making a few more movies after this, 'Limelight' is clearly Charlie Chaplin's swan song. It could be called just as good as anything else he directed.

• Bryce I

  
  While being Chaplin's least funny film, the tearjerker affect is an interesting take for Chaplin. Being known for changing a genre single handed and then changing your style last minute is one of the riskiest things a film maker could do. Personally, I believe that Chaplin's… More
  While being Chaplin's least funny film, the tearjerker affect is an interesting take for Chaplin. Being known for changing a genre single handed and then changing your style last minute is one of the riskiest things a film maker could do. Personally, I believe that Chaplin's change in character was a brilliant transition. Almost as if he took his most famous character "The Tramp" and changed his name. He always was one of the most talented actors in the business, but he never got a moment to show it. It's a masterpiece, and could easily be called Charlie's "Citizen Kane". But it's not an easy film. Boring at times, and it has a tendency to drag on. Not the most original film either, and even as the metaphor that it is, it does not show the cleverness or uniqueness that we are used to. But this is a brilliant film. Perhaps one of the best. Chaplin knew his cinema, and he always knew the right moments to make someone laugh. Or in this case, cry.

• Matthew Y

  
  A great example of a film that suffers from its running time. Limelight is simply too long at 2 1/2 hours. If it were 1hr 50mins or so I think this film would be considered a classic. It's an excellent swan song film for Chaplin & Keaton much like The Shooter was for John… More
  A great example of a film that suffers from its running time. Limelight is simply too long at 2 1/2 hours. If it were 1hr 50mins or so I think this film would be considered a classic. It's an excellent swan song film for Chaplin & Keaton much like The Shooter was for John Wayne. For those who know the tale of Chaplin's life after pictures the allegory to the film is very strong. A brave and enjoyable semi-biopic.

• Ivan D

  
  Chaplin made this film not mainly to entertain people, but he created it as a personal contemplation about his career at the time, which, the same with Calvero, has seemingly lost its magic. And the ending is perfect, (not mentioning the Keaton-Chaplin sequence), a very symbolic and… More
  Chaplin made this film not mainly to entertain people, but he created it as a personal contemplation about his career at the time, which, the same with Calvero, has seemingly lost its magic. And the ending is perfect, (not mentioning the Keaton-Chaplin sequence), a very symbolic and dramatic moment. The most poignant scene for me is the one where Calvero is wiping his make-up after a failed show, the subtle yet meaningful facial expressions shown by Chaplin summed up what his character is feeling: sad and frustrated. One of Chaplin's many displays of genius in this film.

Read all 9 featured audience ratings